Sunday at Gov Ball 2025 marked the final chapter of a stunning weekend of live music, community, and cultural expression—and what a send-off it was. Under grey skies and bursts of rain, the day embraced the bittersweet beauty of endings, uplifted by stirring performances, queer joy, and moments of powerful reflection.
RAYE
British singer-songwriter Raye lit up the Gov Ball Main Stage early in the day, delivering a set that was at once playful, vulnerable, and vocally immaculate. Between powerhouse renditions of “Oscar Winning Tears.” and “Escapism.”, she charmed the crowd with self-aware wit: “This next song is dramatic, just like me,” she quipped. The viral hit “Prada” got a techno-infused remix treatment, with RAYE giving credit where it’s due—“TikTok has come through for me with this little song called Prada.” Known for her genre-bending blend of R&B, pop, and dance, RAYE owned the stage with confidence, reminding us that singing in the shower might be for rehearsals, but stages like Gov Ball are where stars shine.
Mark Ambor’s Festival Debut
On the Grove Stage, Mark Ambor—a singer-songwriter hailing just an hour north of NYC in Pleasantville—performed his first-ever festival set to an adoring crowd. Blending heartland pop with bedroom pop textures, Ambor’s authenticity and earnestness won fans over immediately. He closed with his hit “Belong Together,” a catchy anthem that felt like a full-circle moment in front of a hometown(ish) crowd.
The Japanese House
The Japanese House (Amber Bain) transformed the overcast afternoon into something transcendent with a gorgeously melancholic set that perfectly suited the weather. “Should we play a sad one? Well, they’re all pretty sad,” Bain joked before launching into “Something Has to Change,” as fans swayed their arms in the misty air.
During “Boyhood,” she shared candidly about her journey—“This song is about coming to terms with being gay and all that gender sh*t”—and used the moment to shout out trans people, emphasizing the importance of speaking up, especially relevant this month, during Pride. A surprise saxophone solo on “Follow My Girl” brought the energy up, even as a brief tech hiccup had her laughing: “There’s always something.” But with Bain’s rich vocals and layered instrumentation, every moment felt intentional and intimate.
Clairo
As the rain returned in a brief stint, Clairo took the stage—her and her band entering, each with a glass of wine in hand, setting a loose, cozy vibe. The indie pop darling performed a lush, flute-and-clarinet-laced set that felt like stepping inside a dream. From the breezy nostalgia of “Flaming Hot Cheetos” (for which she asked the crowd to sing along) to the funky bongo rhythms of “Add Up My Love,” Clairo turned Flushing Meadows into her own bedroom pop utopia.
“Gov Ball, y’all ready to dance?” she asked, beaming, before moving into the upbeat second act of her set. Highlights included the Shelly song “Steeeam” (to which the crowd erupted when other Shelly members were spotted in the pit), and a rockier reimagining of “Amoeba.” Even when her mic cut out for a moment, the audience carried the vocals without skipping a beat. By the time bubbles floated through the air during the tender closer “Sofia,” the performance had become a memory in motion—intimate, ethereal, and unmistakably Clairo.
Hozier
There’s something almost mythic about a Hozier performance, and the Irish singer-songwriter lived up to the legend in every way. Opening with “Nobody’s Soldier” and ending with the iconic “Take Me to Church,” Hozier guided the massive crowd through a journey of poetic folk-rock, swelling soul, and blistering political commentary.
True to his roots, he took a moment during his set to call for a permanent ceasefire and a free Palestine, his voice resolute as the crowd erupted in applause. During “Eat Your Young,” visuals on the screen tallied the obscene wealth of the world’s richest men, labeling them as oligarchs and questioning systems of power. It was a bold, uncompromising stance—and one of the most talked-about moments of the weekend.
Yet even with the heavy themes, Hozier’s performance was emotionally transcendent. “Cherry Wine” and “Unknown/Nth,” performed solo on a secondary B-stage, turned a sea of people silent, save for the gentle hush of rainfall. “Would That I” and “Movement” sent waves of emotion through the crowd, while “Too Sweet,” his latest hit, proved he’s still evolving without losing the spirit that first captured fans years ago.
The Spirit of Sunday
Day 3 of Gov Ball 2025 was a celebration of feeling—whether joyful, heartbreaking, or quietly reflective. It was a day of queerness embraced, politics spoken plainly, and artists unafraid to be themselves.
As the weekend drew to a close, Clairo summed up the mood best: “You guys are such a good crowd.” And they were. Rain-soaked but radiant, singing in unison, bubbles rising through the air, Gov Ball 2025 ended not with a bang, but with a swell—of music, of meaning, and of magic.
Stay tuned for future festival highlights, artist portraits, and an inside look at how Gov Ball continues to evolve as one of NYC’s most important music and cultural touchpoints.
Comments are closed.