High Water Music Fest returned this year, and the lineup boasted a rock-solid lineup for music fans. The weather was beautiful, and people were ready to soak up the springtime sun. Approaching the gates, it was clear that High Water was bigger, but was it better? 2025’s High Water had a bit of a dark cloud overhead. The fest last year had a few hiccups. Complaints of terrible traffic entering and exiting the venue, and an alcohol licensing snafu in the Platinum VIP area, gave High Water a bumpy start. The biggest blow would come after the 2024 fest. Carrie Anne Hearst and Michael Trent, the Charleston musical duo Shovels and Rope, who founded and curated the fest, decided to walk away after the 2024 fest and handed the reins over to the powers that be over at LiveNation. Going into High Water, I knew it would be different, but I wasn't sure how. So, what does that mean for High Water Fest 2025? As far as the music? Absolutely nothing. The fest had a stellar lineup, Lord Huron and The Arcade Fire held top billing. Both put on memorable performances. Veteran rockers The Counting Crows, indie coffee house alt-folk darlings Joy Oladokun and Gigi Perez, fresh-faced up-and-comers Ethan Tasch and Darren Kiely, and bluegrass masters Trampled by Turtles helped provide a little something for everyone. All the acts, minus a few sound issues, gave out-of-this-world performances worthy of the ticket price. But other aspects of the fest were less than stellar. I will get to that in a minute. Let's start with the good. The music.
Day one started with smiles. Darby McGlone, Selby Austin, Charlie Holt, and Webster Austin, better known as Charleston’s very own Easy Honey, drew the crowd in and started the day with massive smiles and attempted to spread the “high” vibes. Catchy surfer-style melodies meet garage rock crunch to give Easy Honey their signature flavor. The boys kicked the day off with the tune “Orbiter” from their 2023 EP, Ooooo. Then followed up with “Catching Lightning” and the riff-heavy “Gotta Get Back” from Peach Fuzz. Volleying, vocalist McGlone and Austin each offer a unique vocal range perfectly suited for the ping pong switch between tunes. The set was a lot of fun as Easy Honey certainly knows how to have fun on stage. It was a blast watching the two front men duel it out across the stage while the crowd ate it up.
There were quite a few artists this year that I did not know, and a few that have randomly popped up on a Spotify playlist or two. I’ll admit, I had no idea who Medium Build was beforehand, but I sure as hell know who the hell he is now. Without a doubt, one of my favorite sets of the entire fest. I had no idea what to expect, and at first sight, I didn't expect much. But that's kinda the thing. He put on no facade, he said what he wanted both in his banter and his songs. He was a normal, albeit eccentric, guy. His lyrics cut through me like a knife, like a white trash Bright Eyes (respectfully), and his performances of “Stick Around,” “White Male Privilege,” and “Triple Marathon” shook me. His heart was on his sleeve while he sang, and it was sincere. Wasn't expecting to be rocked like that so early on in the fest. I have since been listening to the Medium Build back catalog non-stop, should I be alarmed?
Next up, we had Julien Baker and Torres. They opened with “Off the Wagon,” showcasing Baker’s twangy Tele work and Torres’ genre-defying vocals. Flashing a smirk and decked out in head-to-toe denim, embroidered with pot leaves and cats. One thing was for damn sure Torres has a commanding stage presence. A more subtle Baker took over vocals for “Tuesday,” which the crowd allowed to have weighty moments of quietness. Torres returned to vocal duty and followed with “Sugar in the Tank”. The vocal harmonies of the two had the crowd spellbound. It's no wonder these two have found success in their collaboration. When these two were fully in sync, it was electric.
One of my favorite live bands, Mt. Joy, took over the massive Edisto stage, and brought the infectious energy they are so well known for right out of the gate with their newest single, “Coyote” Matt Quinn’s vocals boomed, Jackie Miclau laid into the keys, and Sam Cooper cranked up the gain, and strutted across the stage to the riff ringing out of his Jaguar. “Dirty Love” from 2018’s self-titled brought the house down, and Mt. Joy performed 13 songs in total, and shows no signs of wanting to stop. Matt frantically apologized to the crowd for not being able to keep going. Mt. Joy is at their best when they have the time to get loose with it.
When asked who I was most excited to see, one of the first bands out of my mouth was Backseat Lovers. These guys had popped up on one of my random sad boy Spotify mixes, and I immediately identified with their lyrics. Over the winter I had gobbled up damn near all their songs, “Watch Your Mouth” “Growing/Dying” “Maple Syrup” “Heavy” and “Snow Bank Blues” had woven themselves into the soundtrack of my life. I was looking forward to letting go a bit and singing out loud. Apparently, I wasn't the only one; there were thousands of screeching college-aged female fans who also felt the same way. It was a very rude awakening, but it didn't do much to deter me from enjoying some of my favorite tracks performed live on stage in front of me.
Closing out night one on an epic note, Lord Huron took to the stage and started with one of my favorites, “Meet Me in the Woods”. Front man Ben Schneider popped his hips back and forth channeling his inner Elvis before strutting to the mic and hitting the crowd with his echoing, ethereal vocals. The band's performance of “Dead Man’s Hand” was beautifully layered and dripping with atmosphere, which only continued and deepened with performances of “Ends of the Earth” and the unreleased song “Bag of Bones.” The whole set from “Anient Names” “When the Night is Over” Lord Huron rocked me. The show was epic, cinematic, and transportive, with no shortage of hits, including a four-song encore featuring a mind-blowing rendition of “Wait by the River.” Lord Huron is an act I will actively seek to see live again in the future.
Day 2 started with a bang. Sultry Seductrious Goldie Boutilier opened day two, and I fell in love. Cat-eyed sunglasses, brown leather chaps, and attitude for days. She charged up the crowd with her velvety vocals and spicy dance moves. Performing “Body Heat,” Goldie strutted and gyrated across the stage, passionately singing into the mic while guitarist Dan Kanter took the time to lay into his Les Paul and get the crowd going with tasty licks.
Husband and wife duo The War and The Treaty hyped up the editso stage with their highly energetic performance. Michael Trotter Jr. shone on the keyboard, but was not trapped behind it. He danced around the stage and accepted no slouches in the crowd. Joyfully chanting and challenging the crowd, Tanya’s vocals rang out, delivering the raw, soulful tone that helped skyrocket them to critical acclaim.
Another performance I was anticipating was Flipturn. They may have just released their second album, but they already have a die-hard fan base. I met a kid in line who already claimed their first as “his” album, and he showed me the Shadowglow tattoo on his thigh. Coming in hot at the start of their Burnout Days, High Water wasn't ready. These kids are relishing the moment, and I am all for it. Flipturn always delivers during their live shows. Front man Dillion Basse spun around the stage, returning to the mic to deliver weightless melodic vocals. Mitch Fountain effortlessly switched between his keyboard and guitar, smile never left his face. Madeline Jarman threw down the low end and at attitude. But Devon VonBalson is always a treat to watch as he beats the ever-living daylight out of the drums. Flipturn delivered another effortless and explosive set at the fest. They are on a roll right now, and they show no signs of slowing down.
The Arcade Fire closed out this year's fest, and it was highly anticipated. I personally only know a handful of songs from The Arcade Fire. But the songs I do know are damn good. With a nine-person band, creating a beautiful wall of sound, I knew I’d be in for a treat. The Riverfront grounds were jam-packed, but no one seemed to mind as the massive ensemble took the stage. Front man Win Butler sat behind a piano and, in complete silhouette, threw up a peace sign. Igniting an ear-splitting roar. They opened with “The Suburbs” and flowed into “Ready to Start,” a personal favorite. Win rose from the bench and addressed the crowd directly, prompting them to sing along, and smiling as they happily obliged. It was a marvel to see what the band was doing. While the crowd watched the infamous front man, I watched the band expertly handle the instruments. It was so fun to watch Paul Beaubrun bounce from keyboard to guitar to conga. Sarah Neufeld provided beautiful violin accents, and Richard Reed Parry’s infectious riffs cut right through. Frontwoman Regine Chassagne must have played every instrument on stage while also providing powerful vocals. Both she and Win shared an interesting interaction on stage when the two sang an intimate duet during “Pink Elephant,” before strapping on her Mustang bass and hitting the crowd with the unforgettable bass lead into “Rebellion (Lies).” The Arcade Fire put on an astonishing display of live music, and one that I won't soon forget
While the performances themselves were outstanding, some attendees noted a shift in the festival’s vibe this year. There were fewer local vendors and artists, and overall and a more standardized setup than we were used to. Though still a high-caliber event, it lacked some of the homegrown charm that long made High Water feel unique. I’d love to see that added back in future years, as I feel it’s a vital part of the identity of High Water. Changes aside, it was still a phenomenal experience and I'm already ready for High Water 2026!
