88rising’s imaginative ‘Head in the Clouds’ festival thunders Pasadena
The two-day experience celebrates Asian talent, diverse culinary offerings and a fantastic foray into Asian representation in music.
By MS. DACITY
“Head in the Clouds” attendees crowd the barricade this festival weekend. (Marissa Ding / Daily Trojan)
On August 5 and 6, the fifth edition of the “Head in the Clouds” festival took place over a scorching weekend at Brookside at The Rose Bowl in Pasadena. Despite the extreme heat — with temperatures reaching 91 degrees on Saturday and 93 degrees on Sunday — the festival still managed to attract an impressive 30,000 attendees.
The “Head in the Clouds” festival, an annual Asian American music event staple, was launched in 2018 at the Los Angeles State Historic Park. The festival garnered immense popularity in just its first year, drawing more than 10,000 attendees and has only continued to garner larger crowds and more popular Asian and Asian American artists. Named after the collaborative album by the renowned 88rising collective, the festival shines a spotlight on Asian-diasporic music and culture.
The sweltering weather only contributed to the creative and diverse festival outfits, which were widely showcased and celebrated, even finding their way to the fashion pages of Out Magazine. From DIY creators such as the.navarose on TikTok to up-and-coming fashion brands like Xyber Studios, the events served as an avenue to showcase their best twist on Asian American fashion culture. Trends hopped from breezy crochets to rave wear in the crowd, while performing artists donned a mix of high-end custom pieces and flowing fabrics that seemed to move with every slight breeze. It all made for a visually stunning experience in every corner of the event.
TigerJK and Yoonmirae kick off Sunday’s finale together, bringing “Head in the Clouds” to a close. (Marissa Ding / Daily Trojan)
The “Head in the Clouds” festival’s secret ingredient to success, in comparison to other music festivals of a similar size, is its commitment to promoting and inviting Asian-diasporic artists to perform.
By providing a platform for these artists, who may not often tour extensively in the United States, the festival introduces intersectional Asian music to an American audience. The lineup has traditionally represented larger musical forces from countries such as Korea and Japan, as well as less-discovered talents from the Philippines, Thailand and Indonesia. If anything, the festival’s success is a testament to its audience’s passion for Asian music, as it fills a noticeable void in Asian American representation in the music industry.
“I don’t think I’ve ever been to a festival where you see so many diverse artists who come together and perform,” said Thao Le Hoang, a longtime 88rising fan. “I’ve been seeing a lot more performers that I’ve never heard of but would love to hear more about.”
With a focus on intersectionality, the festival celebrates music that transcends cultural boundaries, fusing genres from a broad range of cultures. For instance, queer artists like Rina Sawayama use their platform to sing about the struggles of being Asian American in predominantly white spaces and relate that alienation to being an outsider in heteronormative spaces.
Festival mascot Clo the cloud makes an appearance during headliner Rina Sawayama’s set. (Marissa Ding / Daily Trojan)
In addition to the remarkable musical lineup, the “Head in the Clouds” festival also treats its attendees to a delightful foodie experience. The festival partnered with the 626 Night Market, the largest of its kind in the United States, bringing a curated “festival lineup” of Asian food vendors, carefully selected from fan favorites at the night market.
“I never thought that I’d be able to eat Asian food while watching Asian artists,” said Vivian Lynn, a first-time attendee of the festival. “It’s honestly so meaningful. I grew up listening to a lot of Asian music, so it’s nice to be able to eat a bubble waffle while watching [an artist like] Rich Brian.”
This year’s iteration also featured a Boba Village with six Los Angeles-based boba vendors, letting festival-goers savor their favorite boba drinks while enjoying the performances.
The festival’s artistic installations added to the visual immersion for attendees. Clo, the festival’s beloved mascot, had her own installation — a Yayoi Kusama-esque infinity room set in a trailer — that invited visitors to take into her world. Balloons of the anthropomorphized cloud mascot also adorned the festival grounds, serving as popular photo ops while illuminating the grounds as night fell.
The festival also demonstrated a commitment to giving back to the community by donating $1 from each pass sold to Inner-City Arts, a Los Angeles nonprofit organization that connects K-12 students to arts education.
Headliner Jackson Wang closed out Saturday night’s performances with an electrifying set. (Marissa Ding / Daily Trojan)
Despite the extreme weather conditions, the festival was well-organized, with stages, vendors and interactive experiences conveniently located for attendees. However, the gathering of crowds underneath the trees due to a lack of shade on the grounds and the sprawling bare areas in between the outdoor stages could be literal areas for improvement.
The festival fostered a strong sense of community among performers, both backstage and in the audience. Artists like Jackson Wang were spotted enjoying Zedd’s set, and the grand finale of the two-day event concluded with a memorable group performance, with the last hurrah uniting the performers from both days — including Rich Brian, Yoasobi and Zion.T — in a celebration of music and cross-cultural solidarity.
“I love it. It’s amazing,” said Avery Champlin, a third-time attendee. “I hope that they do it every year, and I’m excited for the new artists that are coming.”