Panorama music and art festival returned to New York’s Randall’s Island Park for another year July 27 to 29, but the third edition of Goldenvoice’s first east coast festival wasn’t without setbacks.
After the festival kicked off, organizers canceled the remainder of the first day because of severe thunderstorms and evacuated festivalgoers who were hoping to see artists, including the Weeknd, Migos, and Dua Lipa. The cancellation resulted in the festival losing money by having to issue refunds. On day two, Lil’ Wayne—the replacement for Cardi B, who dropped out due to her pregnancy—had a last-minute cancellation because of weather-related travel issues, according to a festival statement.
The festival also had a smaller footprint, as both performance stages and most of the activations were housed on and around the main field. The venue's back field, which for the past two years had been home to bars, vendors, and an indoor stage—which collapsed last year due to muddy grounds—was closed off. The more condensed layout resulted in the festival staggering performances on the two main stages, so one act wouldn’t drown out the other. Goldenvoice has yet to announce whether the festival will return for a fourth year.
Amid the hurdles, the festival still managed to keep guests entertained with performances from headliners, including Janet Jackson, the Killers, St. Vincent, and SZA, and through interactive activations from brands such as American Express, Bud Light, Sephora, Hendrick’s Gin, Zenni, and Deep Eddy Vodka. The festival also brought back the Lab, its signature art exhibit that delivered six digital, interactive installations created by local artists and curated by Meta.is.
Here’s a look at some of the brand activation and artist highlights from this year’s festival.
"Portal to Flatland," created by Brooklyn-based duo Magenta Field, was housed in a tunnel and served as a “pre-show” to the film screened in the Lab’s main dome. A combination of sound and lights that changed in different patterns and colors were meant to “transport” guests to the presentation.
As with past years of the festival, a major draw for attendees was the Lab—a group of digital, immersive art installations created by New York artists and designed and curated by Meta.is. Whereas previously guests had to experience each installation chronologically in a giant dome, this year installations were housed outside and in three mini domes. Attendees were able to explore the area in "choose your own adventure" style. "Infinite Wild," an outdoor installation created by artist collective Smooth Technology, was created with 60,000 LED cables that drew power from solar panels.Â
"As Above, So Below," another outdoor installation, was created by Kate Raudenbush and inspired by the Sierpinski triangle. Festivalgoers could pose for photos in the structure, which also had an interactive audiovisual floor design programmed by Eric Chang.Â
Pixel Vortex, created by Brooklyn-based collective Windmill Factory, invited guests to play with LED balloons that swirled in a wind vortex. The installation was also accompanied by an aura-reading box, where guests could place their hands under a metal pad that was connected to a camera. Once the camera flashed a picture of the participant, the colors inside the installation changed based on that person's aura reading.
The aura-reading box produced polaroids, which were hung outside the installation for guests to take home.Â
Superbright, a company that specializes in augmented- and virtual-reality production, created "Dance For Us," an immersive dance floor experience that invited attendees to dance in front of changing digital graphics. Dancers were recorded with motion capture data, and their silhouettes could be viewed outside of the installation in an accompanying A.R. app.
After walking through the tunnel, festivalgoers could watch Flatland: A Romance of Many Dimensions, this year’s 360-degree short film. A contemporary take on a satirical novella by Edwin Abbott Abbott, the film follows a cube that discovers hidden dimensions. The film was adapted and directed by Meta.is founder Justin Bolognino and featured a musical score by St. Vincent, who also performed at the festival.
American Express returned with its two-story cardmember club and hospitality space, which was produced by Momentum Worldwide. This year, the space had an island theme inspired by the festival venue of Randall’s Island. Guests could pose in a hammock attached to palm tree cuts, in front of a floral sign featuring the name of the brand's latest campaign.
An installation of fabricated palm trees with streamers in multiple colors invited guests to write their best advice for living a happy life.Â
Guests who wanted to stay active indoors could play a game of mini bowling.Â
The brand provided a fresh take on water refill stations, with three that resembled outdoor showers. The space also featured a custom mural with colorful, cartoon illustrations depicting New York.
Cardmembers were given branded beach mats to use at the festival.Â
New to the festival this year was a branded ferry, which transported guests to Randall’s Island.Â
Bud Light brought its traveling dive bar activation to the festival, which provided a small stage for intimate sessions from up-and-coming artists and a rooftop viewing deck for fans. Mosaic conceptualized the activation, which was executed by experiential marketing agency Engine Shop at the festival.
The brand sold customized merchandise at an onsite stitch shop.
A multicolored marquee sign welcomed guests to the activation and also served as a popular Instagram moment.
The activation's dive bar aesthetic incorporated arcade games such as N.B.A. Jam and Ms. Pac-Man.Â
While cans of Bud Light were served throughout the festival grounds, guests could also get cans at a custom vending machine.Â
Eyewear brand Zenni activated a branded lounge and onsite glasses shop at the festival for the first time. Relevent led the concept and buildout of the activation, which featured details that included oversize yellow sunglasses with rainbow string art in the frames. The lounge is slated to travel to numerous U.S. festivals through the remainder of summer and into the fall.
Hendrick’s Gin activated a three-story bar that served specialty cocktails. Actors dressed in early 20th-century garb, blew bubbles, and interacted with guests. The bar was produced by Momentum Worldwide.Â
Bar decor included cucumbers and roses in branded vases.
Deep Eddy Vodka served signature cocktails from a retro-style, refurbished 1940s Spartan trailer, which had a full bar, lounge, and custom sound system. The trailer, which was created by Timeless Travel Trailers, will also go to the Summer Melton Music Festival in Darrington, Washington, the Elements Music and Art Festival in the Bronx, and the Crave Food & Music Festival in Lexington, Kentucky, all of which take place later this month.Â
Festival beauty sponsor Sephora went heavy on the glitter this year, with a galactic rainbow-color tent that offered full-service hairstyling, D.I.Y. temporary hair coloring, glitter makeovers, and makeup touchups. One hair station gave guests “holographic space buns,” and featured salon mirrors with the quote “Festival vibes as good as my hair” in purple letters.
People could pose for photos in a life-size, glittery compact mirror. Additional props included a giant makeup brush and lipstick.
Riffing off a popular meme on social media, a sign invited guests to pose with their new festival hairdos.Â
