On September 28, 2025, Ocean City’s boardwalk thrummed with raw energy as the Oceans Calling Festival roared to a close, its third day bathed in a kaleidoscope of sound and sunlight. The Inlet Beach pulsed under a sky that shed its early clouds, unfurling into a dazzling blue canvas kissed by light coastal breezes.
Thousands of music-hungry fans flooded the iconic boardwalk for a marathon of performances across three stages: the Allianz-presented Rockville, the Sea Bright, and Mike’s Amazing-presented Carousel. From noon to night, the festival wove a tapestry of rock, reggae, and alternative anthems, interlaced with culinary showcases celebrating Maryland’s briny East Coast flavors. Jolly Roger at the Pier, its rides gleaming against the Atlantic, added a carnival thrill, amplifying the electric atmosphere.
Eric Hutchinson launched the day at 12:30 p.m. on the Rockville Stage, his soul-stirring acoustic grooves setting the boardwalk ablaze. “Spirit and Soul” cascaded with warm, honeyed chords, each note a sunbeam cutting through the morning haze. “Forget About Joni” danced with buoyant strums, pulling fans into a swaying reverie, while “Right Side of History” sealed the set with raw, heartfelt conviction, voices rising in unison.
At 1:15 p.m., Marcy Playground stormed the Sea Bright Stage, their grunge-soaked alt-rock a gritty love letter to the ‘90s. “Poppies” snarled with raw distortion, “Saint Joe on the School Bus” unleashed a torrent of nostalgia, and “Sex and Candy” slithered through the salty air, its sultry riff sparking a boardwalk-wide sing-along. Their 12-song set closed with “Star Baby,” guitars howling as the crowd roared. Meanwhile, on the Carousel Stage, Chef Robert Irvine’s 45-minute culinary demo was a masterclass in showmanship, his booming voice and sizzling seafood dishes weaving Maryland’s coastal bounty into the festival’s fabric.
Burning Spear’s 2:00 p.m. Rockville Stage set drenched the beach in roots reggae’s hypnotic pulse, their rhythms a tidal ebb and flow that lulled and lifted the crowd, though specific tracks were elusive.
At 2:45 p.m., 4 Non Blondes detonated the Sea Bright Stage with primal ferocity. Linda Perry’s voice, a volcanic force, tore through a blistering cover of Led Zeppelin’s “Rock and Roll,” guitars screaming like gulls. “What’s Up?” erupted into a communal anthem, its soaring chorus reverberating across the dunes, while “Drama Queen” and “Monomorphic” crackled with defiant swagger. On the Carousel Stage, Blind Melon wove a psychedelic spell, their 13-song odyssey kicking off with the jagged riffs of “2×4.” “No Rain” transformed the beach into a barefoot dancefloor, its carefree melody a sun-soaked hymn, and “Galaxie” shimmered to a close, guitars glinting like ocean waves.
Ziggy Marley’s 3:45 p.m. Rockville Stage set was a reggae revelation, his voice a beacon of peace and rebellion. Bob Marley & The Wailers’ “Three Little Birds” floated like a gentle tide, fans swaying in blissful unity, while “One Love” wrapped the crowd in a warm embrace. Originals like “Beach in Hawaii” sparkled with island radiance, and “Get Up, Stand Up” ignited fists-in-the-air fervor. “Love Is My Religion” and “Look Who’s Dancing” pulsed with infectious joy, leaving the beach aglow with harmony.
At 4:45 p.m., DEVO’s new wave sorcery electrified the Sea Bright Stage, their yellow jumpsuits a neon blur. “Don’t Shoot (I’m a Man)” exploded with quirky menace, synthesizers buzzing like rogue circuits. “Whip It” whipped the crowd into a delirious frenzy, bodies jerking to its iconic beat, while “Uncontrollable Urge” and “Jocko Homo” leaned into their avant-garde edge, all jagged riffs and manic energy. The 16-song set closed with “Freedom of Choice,” a satirical gut-punch that had fans chanting into the twilight.
On the Carousel Stage, Michelle Branch’s crystalline voice cut through the dusk like a beacon. “Breathe” shimmered with pop-rock polish, “The Game of Love” (a Santana cover) swayed with sultry grooves, and a new song with lyrics proclaiming “I’m stronger than I was” burned with quiet triumph. “Everywhere” and “Are You Happy Now?” unleashed a tidal wave of sing-alongs, her guitar a lighthouse in the fading light.
The Rockville Stage erupted at 5:45 p.m. with O.A.R. and Friends, a collaborative supernova. Ozzy Osbourne’s “Mama, I’m Coming Home” with Blind Melon growled with raw power, while Eric Hutchinson’s soulful take on Paul McCartney’s “Maybe I’m Amazed” melted hearts. Linda Perry’s seismic vocals on Soundgarden’s “Black Hole Sun” sent shivers down spines, and Pat Monahan’s “Free Fallin’” (Tom Petty) stirred bittersweet waves of nostalgia. DJ Kool’s “Let Me Clear My Throat” turned the beach into a pulsing dance party, and The Dan Band’s theatrical “Total Eclipse of the Heart” was a campy, crowd-pleasing spectacle. O.A.R.’s “Love and Memories” thundered with hometown pride, while Goo Goo Dolls’ John Rzeznik joined for “Slide” and “Iris,” the latter’s tender chords a haunting lullaby as stars emerged.
Vance Joy’s 6:45 p.m. Carousel Stage set was a folk-pop dreamscape, his earnest voice a warm current. “Mess Is Mine” swelled with anthemic heart, “Riptide” had fans strumming invisible ukuleles in a joyous riot, and a solo acoustic “I’m With You” felt like a whispered secret by the sea. His KISS cover, “I Was Made for Lovin’ You,” injected a cheeky rock strut. Simultaneously, Weezer unleashed a 20-song juggernaut on the Sea Bright Stage. “My Name Is Jonas” roared with blistering guitars, “Hash Pipe” and “Beverly Hills” fueled a fist-pumping inferno, and “Island in the Sun” was a breezy, beach-kissed oasis. Their Metallica cover “Enter Sandman” thundered with primal force, and “Buddy Holly” closed with a pop-punk spark that set the night ablaze.
Train seized the Rockville Stage at 8:00 p.m., their set a radiant love letter to the crowd. House of Pain’s “Jump Around” ignited a raucous party, “Calling All Angels” soared with soul-stirring grandeur, and “If It’s Love” saw Pat Monahan filming the sea of faces for Instagram, their cheers a roaring tide. A mashup of “Meet Virginia” with “The Joker” pulsed with playful energy, while “Drops of Jupiter” cascaded with its sweeping piano, a celestial hymn under the starry sky. A taped “One Love” by Bob Marley lingered like a warm farewell.
Fall Out Boy crowned the night at 9:15 p.m. on the Sea Bright Stage, their set a pyrotechnic odyssey through two decades of punk-pop glory. “Take This to Your Grave” and “Grand Theft Autumn/Where Is Your Boy” (despite Patrick Stump’s fleeting lyrical stumble into “Disloyal Order of Water Buffaloes”) erupted with raw urgency, mosh pits churning. From Under the Cork Tree’s “Sugar, We’re Goin Down” and “Dance, Dance” were adrenaline-fueled anthems, the boardwalk quaking underfoot. Infinity on High’s “This Ain’t a Scene, It’s an Arms Race” crackled with defiance, while Folie à Deux’s “I Don’t Care” sneered with punk bravado.
Save Rock and Roll’s “My Songs Know What You Did in the Dark (Light Em Up)” blazed like a firestorm, and American Beauty/American Psycho’s “Uma Thurman” strutted with funky swagger. A piano medley of “What a Catch, Donnie” and “Golden” hushed the crowd into reverent silence, while So Much (for) Stardust’s title track and “Love From the Other Side” pulsed with cinematic edge. “Centuries” and “Saturday” detonated as the finale, fireworks bursting over the Atlantic like a cosmic curtain call.
The flawless weather, evolving from cloudy to sun-drenched, mirrored the festival’s crescendo, with no disruptions reported.
Since 2021, Oceans Calling has electrified Ocean City, drawing over 50,000 fans yearly for 40-plus acts. Its fusion of music, seafood, and boardwalk heritage makes it a magnetic draw for music lovers seeking a coastal escape.