OCEAN CITY, Md. — On September 27, 2025, rain swept across Ocean City’s Boardwalk, turning the second day of the Oceans Calling Festival into a vibrant, sensory-soaked celebration. Over 50,000 fans, their boots splashing through puddles, filled the inlet at 809 South Atlantic Avenue, undeterred by a morning drizzle that grew into a steady downpour by Wheatus’s mid-afternoon set. By evening, heavier showers shimmered under stage lights, the briny tang of the Atlantic mixing with the scent of wet ponchos. No thunderstorms interrupted, allowing the Sea Bright, Rockville, and Carousel stages to pulse with music, echoing the resilience of the festival’s rain-dotted 2022 debut.
Rachel Ana Dobken opened at 12:30 p.m. on the Sea Bright Stage, her guitar’s sharp twang slicing through the patter of rain. Her nine-song set, backed by JT Fosho’s gritty riffs, Jake Albi’s pounding drums, and Daniel Haase’s steady bass, kicked off with a Black Sabbath cover, “Tomorrow’s Dream.” As she switched to drums for “Cruel, Cruel, Cruel,” early arrivals, clutching steaming coffee cups, roared approval, their voices rising over the damp breeze, ponchos flapping as they swayed.
By 2 p.m., Matt Kearney’s acoustic strums warmed the Sea Bright Stage, his eight-song set from “Anywhere With You” to a buoyant Bob Marley cover, “Three Little Birds,” sparking cheers. Fans, raincoats crinkling, linked arms under shared umbrellas, singing along as Kearney introduced his band, their faces glowing with defiance against the gray sky. Wheatus hit the Carousel Stage at 2:00 p.m., their opener “Tipsy” met with a sea of raised hands, water streaming off fingertips. As rain intensified during “Teenage Dirtbag,” thousands belted the chorus, their voices a steamy haze above the slick boardwalk. Covers of The Darkness’s “Growing on Me” and Erasure’s “A Little Respect” with a “My Girl” outro had fans jumping, mud splattering their sneakers, as one X post raved: “Screaming ‘Dirtbag’ in the rain was pure magic.”
Natasha Bedingfield’s 2:45 p.m. Rockville Stage set electrified the crowd. “Love Like This” and “Pocketful of Sunshine” drew ecstatic screams, with fans twirling in soaked hoodies. Her covers of Eminem’s “Lose Yourself” and The Cranberries’ “Zombie” ignited a frenzy, clusters of strangers chanting in unison, their breath visible in the chilly mist. “Unwritten” closed with arms raised, raindrops catching neon stage lights like falling stars.
Collective Soul followed, their 10-song set from “Mother’s Love” to “Where the River Flows” fueling fist-pumps and shouts for “Shine.” Couples danced close, water dripping from their hair, as the band’s guitar wails seemed to shake the clouds.
En Vogue’s 5:15 p.m. performance brought R&B fire, their 13-song set a tapestry of hits like “My Lovin’ (You’re Never Gonna Get It)” and a medley from “Flash Light” to “Proud Mary.” Fans swayed, some barefoot in the wet grass, belting “Free Your Mind” as rain streaked their faces. Modest Mouse’s 12-song indie run, starting with “Dramamine,” saw huddled groups under tarps singing “Float On,” their voices blending with the ocean’s distant crash. One attendee shared online: “Modest Mouse in the rain felt like the world stopped.”
O.A.R. and Friends turned the 6:15 p.m. Rockville Stage into a communal jam. Their Metallica cover “Enter Sandman” had the crowd head-banging, water flying from hair. Benji Madden joined for Lit’s “My Own Worst Enemy,” prompting a mosh pit that churned the muddy ground. Andrew McMahon’s “You Get What You Give” cover saw fans hoist friends onto shoulders, while Rachel Ana Dobken’s “Linger” had couples slow-dancing in the drizzle. G. Love’s “Plush” and a Billy Joel cover, “Scenes From an Italian Restaurant,” fueled chants, with a medley of “City on Down,” U2’s “With Or Without You,” and Taylor Swift’s “All Too Well” leaving the boardwalk trembling from stomping feet.
Good Charlotte’s 10-song pop-punk set exploded with “The Anthem,” fans screaming lyrics as rain glistened on their faces. Deryck Whibley’s guest spot for Sum 41’s “Fat Lip” and “In Too Deep” sparked a surge toward the stage, voices raw with excitement. Jack’s Mannequin’s 14-song run, from “The Mixed Tape” to “Dark Blue,” saw Andrew McMahon at the piano, fans swaying arm-in-arm, their soaked clothes forgotten. Vampire Weekend’s 18-song closer, from “Mansard Roof” to “Walcott,” had the crowd dancing in circles, “A-Punk” prompting leaps that splashed puddles high, their laughter louder than the rain.
Noah Kahan’s 9:30 p.m. Sea Bright Stage finale drew the night’s biggest throng. His 16-song folk set, from “All My Love” to “Stick Season,” had fans packed shoulder-to-shoulder, singing “Dial Drunk” with such force the sound rivaled the ocean’s roar. Rain streaked cheeks during “Northern Attitude,” and social media lit up with videos of neon-lit ponchos swaying to “The View Between Villages.” One X user posted: “Noah Kahan under the stars and rain was unreal—OC will never forget this.”
Oceans Calling, launched in 2022 by O.A.R.’s Marc Roberge, harnesses Ocean City’s boardwalk heritage, a late-1800s promenade now a festival hub. The 2025 event, September 26 to 28, drives $30 million into Worcester County’s economy, filling hotels and eateries. Shuttles from West Ocean City eased traffic, and security kept the slippery grounds safe. Day 3’s clearer forecast promises a bright finale.
