NAPA — Thousands of attendees packed the Napa Valley Expo on Friday on the first day of the BottleRock Napa Valley music festival. The weather cooperated for once, with highs in the 70s making for an enjoyable time during the day.

It was starting to get chilly as the artist affectionately known as “Posty” drew a swelling crowd that crammed the JaM Cellars stage to near capacity. Post Malone took the stage solo in jeans and a Billy Strings T-shirt, and began with banger “Wow.” With stacked rows of speakers that changed color with each song behind him, his performance was peppered with occasional pyrotechnics and incredible intensity. 

On the opener he used his body to amplify his MC-like delivery. Next came a bath of pink light for “I Like You,” during which he danced playfully.

A crew member handed him his ever-present red cup, which he raised to the crowd.

“Who’s drunk tonight? he asked. “Because you’ll have to be to make it through this set. … I’m here to play some shitty songs and get fucked up while we do it.” 

He then explained why he was in such a good mood: It was his daughter’s first birthday.

Post Malone continued with “Wrapped Around Your Finger” and “Better Now,” where his intensity rose up through the roof. He began the song dancing but his vocal notes at the end made him sound like he was in pain.

“I wanted to say, before we continue, how badass it is we can celebrate life,” he said. “Let’s play a couple oldies and a couple goodies.”

That led into “Psycho” and “Candy Paint.” After talking about a breakup, his performance of “I Fall Apart” was downright heart-wrenching.

At one point, he brought a young fan up to the stage. After making him prove he could play guitar, he let the fan play “Stay” while Posty sang, red cup in hand. After reclaiming the guitar, he played “Lemon Tree.”

Following  another emotional performance, “Circles,” Post Malone let the pyro fly during “Take What You Want.” Continuing with the rock theme, as the stage is doused in red light, he pressed onward into “Rockstar.” When he was done, he bashed the acoustic guitar to pieces in true rock-star fashion. He carried some of the broken shards into the pit at the front of the stage, handing it out to eager fans. 

A kinder and gentler Posty returned to the stage to conclude his headlining set with  “Sunflower,” as fans screamed the words back to him, as well as “Chemical” and hits “Congratulations” and “White Iverson.”

Smashing Pumpkins

The Verizon stage was absolutely jam-packed to welcome the Smashing Pumpkins. Billy Corgan made the slow strut to center stage, donning a long black coat, his face painted white, with black designs drawn around his eyes. The alt-rock heroes entered to a massive welcome. Corgan stared out at the gathered masses, sometimes giving a well-placed side eye or gesturing with his arm.

The band wasted zero time getting to the hits, mixing in classic “Bullet with Butterfly Wings” just a couple songs into the set. That was followed up by “Today,” which also got a big reaction from the audience.

“Ladies and gentlemen, welcome to the rock show,” Corgan declared after “Eye.”. “We’re happy to be with you.”

Corgan remained an enigmatic figure, mysterious and dark and yet also personable and appreciative. When he breaks into a guitar solo, it’s forceful and direct but also melodic and nuanced. The band launched into extended jams and solos a number of times, which ranged from bluesy to hard-driving rock. Corgan seemed to be in good spirits, making quick quips to the crowd several times.

“This is a song I wrote in 1994,” he said as he moved into “Tonight, Tonight.” “That’s before most of you all were born.”

The instrumental sections often verged into the spacey territory, mixing experimental sounds and tones to make for unusual creations. Guitarist James Iha brought plenty of toys for his electric guitar, including an E-Bow, which morphed and transformed his guitar tones in a variety of different ways.

Drummer Jimmy Chamberlin tacked on a complex drum solo onto the end of “Solara.” It was a solo built on technical precision rather than simply speed. As the tempo rose, so did the tension, leading to an even more extended full band jam.

Vocally, Corgan still has both impressive power and a unique tone. He showed it on a cover of “Once In a Lifetime,” a guitar-heavy spin on the track, unleashing a scream in the final moments. It was also an opportunity to tweak the lyric just enough to give it a local spin.

“You might find yourself in the Napa Valley,” Corgan sang.

Rounding out the band was guitarist Jeff Schroeder, Jack Bates on bass, and backing vocalist Katie Cole. The lights and staging were kept fairly simple, the production toned down, allowing the band to take center stage both literally and figuratively.

The band ended its set with a selection of crowd-pleasers, including “Cherub Rock,” “Zero” and “1979,” mixing in instrumental flourishes.

Killer Mike

Rapper Killer Mike was a last-minute addition to the BottleRock lineup, but he didn’t skip a beat. Backed by gospel quartet Midnight Revival, he clearly seemed to want more than a performance; he wanted the audience to have a spiritual experience.

He started off with ”Down By Law,” from his new album, Michael. The rapper mentioned he was feeling anxious on stage without his Run The Jewels partner, El-P, but continued on with “Neva Scared.” He made it halfway through before stopping.

“I know we are in Napa Valley, and I know we are sipping grapes and smoking herbs, but we are going to put our fucking phones down and act like we are back in college before we had babies and we’re gonna get loud and wild,” he demanded.

Mike also ranted against Ronald Reagan and other world leaders over the years. The intensity showed in his face as he continued on with his song about the late president. Other songs also had a message beyond the obvious. He implored people to appreciate their similarities over differences and asked them to celebrate one another.

But he did more than recite the rhymes with a powerful message–he entertained the crowd, dancing his lyrics through the beat, comfortably in the pocket.

Several times, Killer Mike started songs a acapella, showing skills on the mic and style with his cadence, lyrical dexterity, not to mention stamina and breath control.

“Next time we gonna do a whole set,” he said.

He concluded with “Whole World” and “Kryptonite.”

Billy Strings

One of the more buzzed-about acts of the day may have been one of the more surprising. Sandwiched between two marquee pop acts was 30-year-old bluegrass phenom Billy Strings. His quartet is made up of stringed instruments and a stand-up bass. While it may seem like an odd placement, Strings is setting the world ablaze with his improvisational brilliance, so much so that even headliner Post Malone donned his T-shirt.

Strings took the stage with little fanfare, politely addressing the crowd before launching into his set. The virtuoso played a mix of originals, covers and a healthy dose of blistering solos and jams. He was a captivating presence on stage, banging his head like a metal guitarist when the band really kicked into high gear. At times, his banter verged on non-sequitur, only adding to the allure of the performance.

“I’d rather have a bottle in front of me than a frontal lobotomy,” Strings announced early on in his set.

The covers spanned a variety of traditional artists, many of them deep cuts. When Strings locked in on his solos, it was like he was taking off to another world, his hands flying up and down the fretboard, as if Jimi Hendrix decided to take up bluegrass instead. Even the extended jams were inspired.

Lucius

Lucius appeared like a fantasy of bands gone by. The duo was in sync from the coordinated outfits to the hauntingly beautiful harmonies. ​​Jess Wolfe and Holly Laessig wore disco-ball themed attire, silver sequined ensembles that shined brightly. Even their matching keytars were emblazoned with reflective accessories. The rest of the band wore black shirts with star-like designs; also matching.

Starting off with “Second Nature,” the band stuck to its most popular singles, drawing a large crowd to the cozy Allianz stage. For “Next to Normal,” the duo grabbed their keytars for the chorus. There were also mirrored keyboards. They followed up with the downtempo “Tempest,” which offers the band’s most poignant harmonizing. They encouraged the audience to join them in a coordinated dance on “Heartbursts,” which had a distinct R&B flavor.

 

Bastille

British pop-rockers Bastille were tailor-made for festivals, even if vocalist Dan Smith said he thinks their songs are too sad.

“A lot of our songs are really depressing, even if they sound happy,” Smith said midway through the band’s set.

Despite the dour lyrics, Bastille’s songs truly come to life on stage. Smith carried the energy, bouncing, strutting back and forth and leading the crowd to jump when the crescendos hit. Extra drums were sometimes brought to the front of the stage to add more bombast to the band’s already-rhythm-heavy tracks.

Bastille also added a secret weapon to the mix in backing vocalist Bim Amoako. Amoako was an excellent complement to Smith. She even jumped in with some lead vocals on a cover of TLC’s “No Scrubs.”

“I apologize to fans of this band if we ruined the song,” Smith deadpanned before launching into the track.

Opening with “Good Grief,” the band also mixed in tracks along the way like “World Gone Mad.” Of course, all the hits were accounted for, including smash “Pompeii.” Marshmello collaboration “Happier” was especially good, with the band changing up the arrangement just enough to add a little more harmony and groove to the lively track.

Thievery Corporation

Electronic dance pioneers Thievery Corporation let their music speak for itself. Eric Hilton and Rob Garza were backed by a variety of musicians and vocalists at the JaM Cellars stage. Guest vocalists included San Jose native Loulou Ghelichkhani, Raquel Jones, Mr. Lif and Notch. Hilton sauntered onstage with an orange cocktail in his hand and picked up the guitar. Thievery Corporation started out with several songs that had a reggae flair. Jones turned up the heat on “Originality.” She prowled and strutted across the stage, undulating her hips to the beat as she melodically spit out patois dancehall style.

Notch sang on “Amerimacka,” with Hilton bending the guitar notes with tons of reverb, dub-style. The energy went way up on the next track, as Mr. Lif took spit rapid-fire lyrics over a fast-paced beat heavy with guitar riffs.

Once Lou Lou Ghalichkhani hit the stage, the music took a turn to the east, Ghalichkhani’s voice sailing over sitars and chimes. “Lebanese Blonde” got the crowd excited and dancing en masse. Quite a feat for an early evening show in such a large area.

Stone Foxes

The Bay Area’s Stone Foxes pulled a big crowd to BottleRock’s Truly Stage, playing bombastic good ol’ blues rock.

“It’s a tasty treat to be here,” said singer Shannon Koehler, donning a San Francisco Giants jersey.

Koehler spoke to the band’s excitement to be back on the road, touring in support of its latest album, The Other Side. The band’s set was dynamic and lively—mixing things up from song to song, infusing different instruments and trading lead vocals. The Stone Foxes mixed in everything but the kitchen sink, from horns to keys, which added an extra layer to the band’s sound. Spence Koehler, Shannon’s brother, delivered the goods on guitar with pinpoint riffs.

Surprisingly, the band’s best moment may have been its quietest, when a guest fiddle player came on stage for a slowed-down, Americana-style track lush with harmonies and a stunning soundscape. It was an unexpected and welcome departure that played well live.

Nicky Youre

With just five songs under his belt, pop singer Nicky Youre appeared eager, pacing the stage and gesticulating.  He hunched over, seeming to embrace the crowd. Kicking off with “Eyes On You,” the 23-year-old supplemented his limited discography with a few cover tunes. He also showed charm and charisma. His voice was a bit shaky at the start but grew from there. 

After singing a song that used a sample of his dad’s voice on it, he pointed out his parents in the audience, telling the crowd, “Say hi to my dad and my mom!” Youre ended his set with TikTok-famous single “Sunroof.”

 

Great Northern

SoCal indie rockers Great Northern brought a moody and brooding vibe with their bass-laden and dark melodies. Vocalist and multi-instrumentalist (and indie film actress) Rachel Stolte provided a counter to the warm sun, donning a black feathered coat and with a black line painted across her eyes. She, Solon Bixler (formerly of Thirty Seconds to Mars) and a third musician created a wall of sound, fusing synths and bass over a driving drumbeat. The band played in front of a multicolored, flashing light, like a TV test pattern. Playing songs like “Run Baby Run” and “Repeat After Me,” the band’s sound transformed from upbeat and energetic to heavy and melodic. The trio ended with its latest release, “Animl.”

Ayleen Valentine

Indie pop upstart Ayleen Valentine brought youthful enthusiasm to the afternoon. The Miami-based singer announced the performance was both her first-ever festival and her first visit to Napa Valley. Asking the crowd if there were any fellow Floridians around, she launched into a set heavy on dark synth-pop. Valentine donned headphones and occasionally jumped on to a synth of her own, which added an extra layering and effect to her vocal. She performed songs from her latest EP, a/b__2, including singles “epitaph” and “i can’t stop dreaming of you.”

 

Peter Cat Recording Co.

New Delhi, India band Peter Cat Recording Co. kicked off the festival with a set ranging from moody downtempo grooves to mid-tempo danceable, disco-inspired tracks, playing in an almost trance-like state. The vocals, delivered by former San Franciscan Suryakant Sawhney, were in a velvety smooth, hypnotic baritone. The members switched off between instruments, which included a trumpet and accordion.

Their performance included psychedelic rock cut  “Heera,” from 2019’s Bismillah. Sawhney danced as he sang, holding the mic in one hand and a lit cigarette in the other, taking drags between the verses. A melancholic trumpet somehow made the song sound even more somber. “I’m This” saw Sawhney picking up the guitar. After a few more moody tunes, the band ended their set on a high note, picking up the pace with a disco instrumental.