Dreamy Draw Music Festival made its return to Scottsdale this fall with an expanded layout, a larger audience, and a lineup that felt more thoughtfully curated than ever, yet the festival still held onto the relaxed, free-spirited atmosphere that has earned it such a loyal local following. Warm 85° days, plenty of sunshine, and the bonus of easy, free parking around the Civic Center set an inviting tone for the entire weekend.

The biggest change this year was the addition of the Bronco Stage inside Scottsdale Stadium, creating a four-stage setup alongside the Stampede, Poncho, and JB’s Lawn stages. The footprint stretched between the stadium and Civic Center grounds, forming a sprawling but walkable loop of music and vendors. While the trek between Bronco and Stampede took roughly ten minutes, alternating set times across the main stages ensured minimal overlap until the final slots of each night.

Even with the festival’s capacity essentially doubling, Dreamy Draw still felt grounded and approachable, a mellow, family-friendly gathering where indie rock, desert soul, and Americana blended seamlessly with local artisans and food stalls. Organizers have been hinting at a “bigger but still intimate” direction since late summer, and this year’s event proved they could grow without losing the sense of community that defines the festival.

DAY ONE — Friday

Bronco Stage — Field Medic, Houndmouth, Thee Sacred Souls, The Lumineers

Supporting acts delivered a warm, steady ascent throughout the afternoon. Indie folk artist Kevin Patrick Sullivan, known as Field Medic, kicked off the day with a soft, lo-fi folk that drew early crowds onto the grass, easing everyone into the day with soft melancholy. The audience was treated to songs from across his discography, including tracks from his recently released record, surrender instead. Houndmouth picked up the pace with easygoing alt-rock/Americana influenced hooks perfect for a sunlit afternoon. Their harmonies carried across the outfield as fans sang along with favorites like “Black Gold,” “Darlin’,” and, of course, “Sedona.” Thee Sacred Souls brought a satin smooth set of retro soul that glided across the stadium. The Southern California trio was joined on stage by back up singers and a brass section, taking their live performance to another level. Frontman Josh Lane wowed the crowd with his velvety vocals, taking moments in between songs like “Will I See You Again?,” “Waiting on the Right Time,” and “Live For You” to connect with fans, even jumping down to the barricade to get up close and personal. As Thee Sacred Souls closed out their soul soaked set, evening had settled in, and the air had turned chilly for most locals, heightening the mood for the most highly anticipated set of the day. 

The Lumineers closed out day one on Bronco and their performance was well worth the wait. They kicked off their set with “Same Old Song” and continued with favorites from across their discography, including tracks like “Sleep on the Floor,” “Angela,” and a performance of “Ophelia” that yielded such an enthusiastic singalong that the choir of voices could be heard echoing throughout the festival grounds. The band spent time on the main stage, often traveling down the catwalk to the B Stage to get closer to those in the outfield. They showcased their musical talents, alternating between instruments, shifting fluidly across the stage, and adding spontaneous flourishes that kept the crowd fully engaged. Stelth Ulvang, a touring member of The Lumineers, elevated their performance even further with his unpredictable energy. At one point, he could be seen doing a headstand atop his piano, earning a well deserved wave of cheers from the crowd. A tambourine toss gone wrong resulted in a memorable keepsake for a couple lucky members of the audience. “Cleopatra” carried smoothly across the cool night air, and they capped the evening with a powerful, communal rendition of “Stubborn Love,” leaving day one on a high that felt deeply connected to the audience.

Stampede Stage — Hovvdy, Richy Mitch & The Coal Miners, Marcus King Band

Back at the Civic Center, Stampede kept things mellow, then steadily louder. Hovvdy kicked things off at the Stampede stage, bringing their soft, hazy indie-pop tunes to the early crowd. Blankets dotted the lawn as the crowd kicked back and vibed along with tracks like “Jean” and “Joy.” Their set was gentle and dreamy, a perfect fit for a festival with “Dreamy” in its name. Up next, Richy Mitch & The Coal Miners took the stage just after nightfall, bringing folk-rock grit and country-tinged melodies, energizing the growing crowd and setting the stage for the blues-heavy closer. The crowd lit up as they played “Evergreen,” the song that has become the soundtrack for hopecore videos all over social media and brought feel good energy to the evening as fans swayed and sang along.  The Marcus King Band closed Stampede with blistering blues-rock. His powerhouse vocals and fiery guitar solos cut through the night with intensity, with tracks like “Hero,” “Carolina Honey,” and “Honky Tonk Hell” giving the day a rooted, soulful finale. 

Poncho & JB’s Lawn Stages 

Both smaller stages offered mellow, intimate sets all day, the kind of places where you could stretch out on a blanket and watch local and rising artists shine. On the Poncho Stage, local favorites Bummer Girl’s gritty blend of punk, psych, and emo rock, Izzy Mahoubi’s folk-rock singer-songwriter style, and Sidney Bird’s warm Southwestern charm created a beautifully cohesive flow. Over on JB’s Lawn, Sophia Rankin & The Sound brought Tucson indie-rock energy, Katie Mae & The Lubrication leaned into bluesy riffs and heartfelt vocals, and the Ashbridge Band rounded out the day with punchy, feel-good rock. 

DAY TWO — Saturday

Day two kicked things off earlier, welcoming Deloyd Elze to the Bronco Stage at 1:15PM. The artist, who fuses country, indie, and electronic music, dubbed “digital twang,” eased the crowd into day two with tracks from his 2024 debut EP A Horse Named Proletariat, a refreshing, early-afternoon set that invited people to gather and shake off the morning. Wells Ferrari, a duo defined by their twin voices and seamless harmonies, brought a country-tinged indie-rock sound that was polished, melodic, and full of charisma. Their stage presence felt effortless, and they did an impressive job pulling a mid-day crowd into full attention with tracks from their recently released album Wasted Time. Bathed in the light of golden hour, Ashe delivered an emotionally charged set featuring tracks like “Running Out of Time” and “Another Man’s Jeans,” along with songs from The Favors, her project with FINNEAS. The indie-pop singer drew a massive crowd, who hung onto every lyric as she moved effortlessly between soaring vocals, heartfelt storytelling, and her radiant stage presence. Father John Misty followed, shifting the tone toward something moodier and more theatrical. Backed by a full band, he leaned into his signature blend of crooning baritone vocals and slow burning arrangements. He kicked off the set with a 10 minute performance of “I Guess Time Just Makes Fools of Us All,” continuing on with favorites like “Chateau Lobby # 4 (in C for Two Virgins),” “Hollywood Forever Cemetery Sings,” and “Holy Shit,” before closing out with “Mahashmashana.” His dry, deadpan banter between songs added a wry humor that kept the crowd engaged, including fearing he was about to experience “ego death” after walking out onto the stage before his set to find nobody was in the crowd, not realizing everyone was watching a set on the other stage. It was a performance that felt delightfully askew in all the ways his fans adore, setting the stage perfectly for the night’s final act.

Vampire Weekend closed out Bronco on Saturday with a set that felt effortlessly joyful, a burst of indie-rock brightness that energized the entire stadium. They opened with “Mansard Roof,” immediately launching the crowd into movement, and followed with a run of favorites including “Holiday” and “Ice Cream Piano” before the curtain dropped, revealing a full backing band—two drum sets, a brass section, and strings. Ezra Koenig’s vocals were crisp, floating over the band’s tight arrangements. Their performance balanced breezy charm with impressive musicianship, including extended instrumental breaks and playful guitar runs that kept each song feeling alive and in the moment. As the set wound down, they drew the crowd into a massive singalong with “Harmony Hall,” a warm, communal moment that pulsed across the evening sky. They closed with “Walcott,” a fast, joyful burst of energy that had the entire field jumping, ending day two on a high note.

Stampede Stage — Jack Van Cleaf, Asiris, Saint Motel, Local Natives

Stampede’s Saturday programming flowed smoothly from introspective to vibrant, with Jack Van Cleaf opening the day with a soft, folk set featuring songs from his recently released album, JVC. Following Van Cleaf was the biggest surprise of the weekend for me: Asiris. Drawing the audience in with this soulful voice and lyricism, the 20 year old folk-pop singer songwriter gave an impressive performance that had the attention of the audience from the start. Saint Motel was a burst of color, brass, and theatricality. The band is known for their lively performances, and their performance this evening was no exception. With tracks like “Move,” “For Elise,” “Sweet Talk,” and “My Type,” their performance was danceable, joyous, and full of crowd engagement. Then came my most highly anticipated set of the weekend, Local Natives, and they did not disappoint. They closed out Stampede with lush harmonies and layered, atmospheric indie rock. Tracks like “Black Balloons,” “Dark Days,” and “When Am I Gonna Lose You” kept fans rooted in the grass, even as Vampire Weekend was taking over the Bronco Stage, a testament to just how captivating their live performances are. Having taken a break from touring to work on a new record due out next year, their performance felt fresh and invigorated, leaving the audience eagerly awaiting what’s next. 

Poncho & JB’s Lawn 

Saturday’s smaller stage energy was especially vibrant thanks to the DJ sets. While JB’s Lawn brought more mellow vibes which had the crowd sprawled out on blankets, soaking up the vibes, the DJs on the Poncho stage turned things up, bringing everyone to their feet. Barrett’s set on Poncho was a highlight of the festival, with the brothers launching water balloons into the crowd, passing out bubble wands, and turning the lawn into a sunlit dance party. Flying Mojito Bros brought cosmic disco-country grooves, and Chromeo’s DJ set sent funky, glittery waves across the evening lawn. Meanwhile, JB’s Lawn hosted Silver Lake Rodeo, Desert Music Project, Practically People, and Mellow Toad, all delivering relaxed, sun-soaked indie perfect for lounging.

THE FESTIVAL EXPERIENCE 

Dreamy Draw remains one of the most relaxed and family-friendly indie festivals in the Southwest. Kids under 12 entered for free, families picnicked on blankets, and the entire scene felt warm, open, and unhurried, a stark contrast to the chaotic sprawl of mega-festivals. There were a fair number of food and drink stalls, featuring festival staple Island Noodles, as well as local favorites, such as Bun’d Up, The Funky Pita, Tot Box, Mi Amore Wood Fired Pizza, Danzeisen Dairy Creamery Store, and more. While there was a good variety, vendors had difficulty keeping up with the demands, with lines stretching to 40 minutes at times. Those with dietary restrictions may have had a more difficult time finding options to suit their needs. Drink tastings from Tito’s, Kona Big Wave, NUTRL, and local non-alcoholic brewery Rhine Stone were a huge hit. Local artisans and businesses — hats, jewelry, permanent jewelry welding — added artistic flair. Fine-line tattoo stations on both sides of the festival gave fans a chance to leave with a tiny Arizona tribute inked on the spot.

While the festival didn’t have dedicated parking and ride share was encouraged, parking around the civic center was free and easy. With all tickets picked up at will call, lines to collect wrist bands and lanyards became quite long at times, especially as the day progressed. Saturday saw added help at will call which helped the ticket pickup process move a little more smoothly. Facilities throughout the grounds were plentiful, and food and drink vendors and stages were accessible, though there were no dedicated viewing areas for those with mobility aids. Shade on site was limited, but lawns made for comfortable lounging. 

Each artist was allotted at least an hour to play. I appreciated that the main stage artists were mostly staggered; however, because artists on the Stampede stage started just as the artist on the Bronco stage was wrapping up, you were forced to either leave one set early, or arrive to the next set late given it took at least 10 minutes to walk from one main stage to the other. It would be great to see a 10-15 minute cushion between those sets to allow the crowd to soak up every last minute of each performance. 

One of the festival’s biggest strengths: an incredible lineup for roughly half the price of comparable festivals. While the production was simpler, it worked, and gave the weekend its charm.

FINAL THOUGHTS

Dreamy Draw 2025 delivered another heartfelt year of indie, folk, and desert soul — expanded but still grounded in community. The lineup felt thoughtfully curated, offering a smooth, cohesive experience regardless of which stage you gravitated toward. With a ticket price about half of what major festivals charge, the value was undeniable. A few tweaks — more food vendors, more shade, clearer accessibility accommodations, additional times between sets — would elevate the experience even further. But the spirit was perfect: carefree dancing, families sharing space, indie heroes under the Arizona sky, and a festival that truly feels like a local treasure growing at just the right pace.