REVIEW: Mosswood Meltdown 2025 Was A Technicolor Celebration Of All Things Weird and Wonderful
REVIEW
REVIEW
☆ BY KYLEE WIENS ☆
“Punk, putrid, and perverted” said John Waters about the Barcelona-based art-punks Prison Affair, although the catchy tryptic would come to perfectly describe the colorful, calamitous fun of Mosswood Meltdown 2025. Held for its eleventh year at Mosswood Park in Oakland, the two-day affair consisted of legendary acts such as Devo, Osees, and Shannon and the Clams. Packed to the brim with fishnet-clad festival-goers and a diverse array of vendors, this year’s Meltdown was yet another example of the power of community through music.
I arrived to the scene as the Los Angeles-based quartet Niis was leading the crowd through chants of “F***ICE!” like a battle cry. I was immediately impressed, as I am with any band that utilizes its art as a tool for speaking out against social injustice. Their musical performance did not disappoint, either. Dredgey, reverb-soaked guitar lines, and an angular post-punk sensibility electrified the audience, who parted like the Red Sea for multiple moments of mosh delight. Fellow Angelenos Bleached graced the stage next, with the afternoon sun dipping just enough to cast a halo-like glow on sisters Jennifer and Jessica Calvin. Their girly-garage sound provided the perfect soundtrack to cool down to, complete with punchy pop hooks and sultry basslines galore.
Frenetic, kaleidoscopic, and impossible to pin down, Barcelona blokes Prison Affair were next on the deck. Juanma on bass and vocals, Bicis on guitar, and Adri on drums, the trio eats genre conventions for breakfast and spits them right back out. A jittery, anxious playing style collides with hardcore vocal delivery and abstract time signatures for a result as refreshing as it is pure fun. Whether you call it “egg punk,” “post-punk,” or just pure chaos, Prison Affair is an undeniable talent, breaking the rules with every note. The legendary Exploding Hearts were a fan-favorite of the day. Fearlessly led by last surviving member, Terry Six, and accompanied by Murat Aktürk, John Tyree, and Chad Savage, the set was equal parts nostalgic and forward-facing. The tragic passing of three of the four original band members did not stop Six from belting his signature pop-punk vocals, with the band delivering excellent renditions of tracks off the 2003 cult-classic Guitar Romantic.
Osees (Formely known as Thee Oh Sees, OC’s or Ohsees), were galvanic and glorious. The San Francisco hometown heroes are led fiercely by John Dwyer, and their current lineup features two full drum set ups. Osees’ music is pulsating and urgent, with gooey garage guitar lines slicing through swirling synths and conflicting drum beats. The crowd cracked and bent and undulated, turning crowd surfers upside down and sideways and backwards on repeat. The set ended before I could even catch my breath, leaving my ears ringing and the spirits of festival-goers at a soaring high.
Devo were, of course, an absolute delight. Despite being my third time seeing them live, their legendary New Wave status remains untouchable. Cranking out topsy-turvy bangers since the late ‘70s may seem like a tiring affair, but their energy is still galvanic. Delightfully distorted dance hits like “Don’t Shoot (I’m a Man),” “Whip It,” and “Girl U Want” had everyone from seasoned punks to little kids beaming, and the band’s classic outfit changes and collaged abstract visuals made the act even more engaging. Mark Mothersbaugh and company are certifiably musical geniuses, yet don’t take themselves too seriously on stage. From their opening visuals of a slimy label head calling them “unmarketable,” to their inhibition-free dancing and off-kilter humor, the set made me remember why I love live music so much. Devo are more than just punk or new wave or art rock; they represent a departure from the norm - an inclusivity of the weird and wonderful. Being surrounded by bobbing energy dome hats, flailing tattooed arms and legs, fearless crowd-surfers and outfits beyond my wildest imaginations, I felt a sense of true camaraderie. Devo has nothing to prove yet everything to give, and I left the crowd feeling a wave of gratitude for their musical gifts to the world.
La Luz were another highlight of the weekend. Dreamy, fuzzed out guitars and ethereal vocals floated through the early evening air on day two. The band’s neo-surf-meets-art rock sensibilities draw listeners into a sense of otherworldy nostalgia - a kind of ease that finds itself in lazy summer days and cozy moments with loved ones. I found myself entranced, with lead singer Shana Cleveland’s voice as a mesmerizing glimpse into a world of sound and color.
Shannon and the Clams rounded out my weekend with an incredible bang. Their reimaginations of doo-wop diner tunes and ‘60s psychedelic blues were as heartwarming as they were refreshing. The gorgeous harmonies between Mosswood Princess Shannon Shaw and guitarist Cody Blanchard fell like glitter over the crowd, sparkling and floating and spreading to every inch of free space. Drummer Nate Mahan and keyboardist Will Sprott held each note with precision and care, yet an urgency that kept each song feeling more exciting than the last. Clad in red pinup outfits, the performance felt like an arthouse fever dream - complete with vivid explosions of technicolor and sonic bliss. Ultimately, my second Mosswood Meltdown was a lavish celebration of the avant-garde in everything from fashion to music to art. It was a glorious gaggle of punks, New-Wavers, and freaks from all walks of life. If you’ve ever thought about going, I implore you to secure your tickets to next year’s festivities. It’s sure to be even more deranged and perfect.
