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FIELD OF DREAMZ
Turns Petco Park into San Diego’s
BIGGEST BACKYARD PARTY
June 17th, 2026 Review by Sam Hill
Slightly Stoopid’s first-ever Field of Dreamz Festival took place at Petco Park on June 13th, radiating the energy of a triumphant hometown celebration. Designed and organized by the band, this two-stage festival featured performances from Slightly Stoopid, Sublime, Stephen Marley, The Elovaters, Pepper, DENM, Z-Trip, Band of Gringos, and Boostive.
The vibrant atmosphere was infused with reggae-rock, beach-town funk, dub haze, punk spirit, and the warmth of California sunshine with the downtown San Diego backdrop of Petco Park adding a stadium-sized block-party vibe.
Typically home to the Padres, Petco Park transformed for Field of Dreamz, feeling more like a grand coastal amphitheater nestled in the heart of East Village. The ballpark’s combination of steel, brick, lush grass, skyline views, and open-air design provided a setting that was both robust and refreshing, and Petco’s capacity of 40,000 made the event feel monumental while still embracing the local charm.
The genius of Field of Dreamz lay in its focused approach; it never attempted to be all things to all people. It was clear about its identity: a celebration rooted in San Diego, embodying the sounds that resonate between the boardwalk, garage, backyard barbecues, and late-night afterparties.
Boostive and Band of Gringos set the early tone, infusing the atmosphere with rhythms that felt custom-made for those still deciding whether to sway, skank, or simply post up with a drink and watch the sun slide across the stadium rim. Band of Gringos were like nothing I have heard before. Tracks like “Jimi Valentine” brought a careful and bluesy guitar-forward feel to things and definitely made me want to track down their discography.
Songs like the swaggering “It’s Your Shadow” and “Wild Red” showcase a band that not only can scorch a fretboard but can also write songs that get people out of seats.
Boostive is hard to resist; known for their fusion of heavy dub-reggae, jazz, and instrumental hip-hop. Their impressive ensemble, ranging from 7 to 14 members, creates an electrifying party vibe onstage, characterized by sharp horn sections, poly-rhythmic drum patterns, and an effortless groove.
Songs like the bright “Es Lo Que Es” and DENM-assisted groove, “Under the Pressure” (No relation to the War on Drugs record), showed the band’s ability to bring a crowd under their spell. If you don’t move when Band of Gringos or Boostive are playing, you may need to seek medical attention.
DENM brought a rough-around-the-edges, street-smart charm to the Gallagher stage, delivering a performance that felt as if it had strolled in wearing Vans and left with half the audience singing along. His blend of alt-pop, reggae, and laid-back SoCal beats was a perfect match for the day. He didn’t need to dominate the lineup; instead, he added texture and vibrancy, much like spray paint on a pristine wall.
On the other hand, Z-Trip acted as the festival’s dynamic catalyst. In a lineup rich with guitars, basslines, and a hazy ganja vibe, his DJ set jolted the crowd awake with sharp cuts, unexpected drops, and energetic collisions. He transformed the stadium into a living mixtape, dragging old-school block-party DNA into a baseball cathedral.
Hawaii’s own Pepper brought just the right amount of delightful chaos for this event: lively, sun-kissed, and playfully irreverent, yet sharp enough to keep the energy high. Their performance felt like a beach bar that had just hit the big time. With catchy hooks, swaying hips, and plenty of crowd engagement, they injected a much-needed burst of excitement into the midday atmosphere.
Pepper is one of those bands that you don’t really understand the whole thing until you see them live. Bret Bollinger (vocals/bass), Kaleo Wassman (vocals, guitar), and Yesod Williams (drums), are a well-oiled machine crafting well-written and wonderfully unserious reggae-rock. Standouts of their set list were the relevant and timely “Rent” and the fuzzy-toned “B.O.O.T.”
The Elovaters delivered a more refined experience, showcasing a sleek modern reggae vibe that enveloped the park in soothing harmonies and an uplifting festival spirit. This band was sharp – smooth hooks, great visuals, and a rhythm section that created an interlocking weave of sound.
The drums on “Meridian” were clean and precise with not a hint of overplaying, and the pristine, subdued guitars on “Pockets Full of Sand” showed the songcraft that has fueled their popularity.
The young Bostonians were more polished, streamlined, and their set served as a clear reminder to Field of Dreamz that this scene is not merely a trip down memory lane. The reggae-rock genre continues to evolve, shaping new forms, and discovering younger audiences eager to embrace the rhythms.
Stephen Marley infused the festival with its spiritual essence. His presence elevated the atmosphere. The energy of the party didn’t fade; it intensified. Marley’s performance exuded a sense of weightiness without feeling oppressive, weaving authentic roots reggae through the afternoon like a banner unfurled on hallowed ground.
With the San Diego skyline towering beyond the seats of Petco Park, the music transcended mere tradition, becoming the very foundation of everything surrounding it.
Marley covered all the ground that you would need a member of the Marley tribe to cover. We were treated to an open and relaxed “Iron, Lion, Zion,” and a rendition of “Buffalo Soldier” that would have made his father beam with pride. He commanded the stage with familiar faves like “Rock Stone” and the ‘90’s dancehall-flavored “Traffic Jam.” It is easy to understand why the rest of the lineup fit so perfectly: the deep bass, the uplifting vibes, the calls for change, the shared release, and the way a groove serves as both healing and strength. Finishing his set with a cover of Bob Marley and the Wailers’ “Could You be Loved?” Stephen Marley showed us the roots of it all.
Slightly Stoopid took the stage with the confidence of hosts who truly grasped their role. This was their festival, their city, their extended musical family, and their chance to demonstrate that a scene born in intimate, sweaty venues could expand without losing its charm.
House of Pain’s “Jump Around” drifted through the air with the smoke on the breeze and the sun setting as Slightly Stoopid prepared to take the stage. The band’s power has always stemmed from its dynamic nature: reggae one moment, punk edge the next, followed by bluesy haze, hip-hop rhythm, dub exploration, horn-infused funk, and jam-band fluidity.
We were given a perfect demonstration of a band that has their hands in it all and knows it. The song “No Cocaine” feels like grabbing a Red Stripe with the Specials in 1996, and the syrupy track “Sweet Honey” probably has members of Sugar Ray absolutely sick that they didn’t write it.
The band is solidly grounded enough to show love to the genre that informs their sound and, by extension, the culture. Placing “Bam Bam” by Sister Nancy as an intermission and playing a nimble version of The Wailers’ “Roots Rock Reggae” was a thoughtful and well-done nod to reggae legends of the past. The guitar work on songs like “Nobes” and the penultimate “Closer to the Sun” was sparkling and served as a reminder that these guys can really play anything. Their sound enveloped the venue without becoming overly glossy; the sound still had sand in its shoes. Slightly Stoopid took us on a winding journey of a setlist, and it was a hell of a ride.
At last, on the big stage, was Sublime: a name that still resonates with SoCal audiences like a flare illuminating the coastline. Their discography stands as one of the beautifully chaotic wonders of West Coast music, blending punk, ska, reggae, hip-hop, beach vibes, humor, heartache, and catchy hooks that seem to have traveled to us through car stereos rather than traditional radio.
Jakob Nowell, the son of the band’s late great original frontman, Bradley Nowell, has assumed vocal duties for the band. He does not disappoint. His voice carries the same raw passion and controlled power that his father had. It was eerie at times. Bud Gaugh (drums), Eric Wilson (bass), DJ Product, and Trey Pangborn (guitar) are the musical juggernauts that push everything supporting and surrounding that voice.
Sublime kicked things off with the iconic songs “Garden Grove,” “Wrong Way,” “40oz. to Freedom,” and “Smoke Two Joints” before moving into an infectious cover of Toots and the Maytals’ “54-46 (That’s My Number).” We were treated to classics like the riotous “New Thrash,” reggae-infused “Badfish,” and a very crisp “What I Got.”
The live debut of the new song “Until the Sun Explodes” was a standout of the evening. Full disclaimer: As a Southern Californian, Sublime will always inhabit a special place in the culture and in my heart. Slight bias aside, the boys came in clearly and captured every bit of the old sound. The finale, “Santeria,” still absolutely slaps with Wilson and Gaugh sounding as in synch as they ever have.
Simply put: Sublime showed up as SoCal legends and gave us something special. In a stadium environment, that legendary status can feel exaggerated, but at Field of Dreamz, it was perfectly scaled to the moment. This wasn’t just a sterile reunion act plopped onto a corporate stage; it was a legacy unfolding before a crowd that knew every lyric, because these songs have been part of our lives in trucks, dorm rooms, garages, and during those questionable late-night adventures.
What truly made the night shine was the sequencing. Field of Dreamz flowed like a leisurely beach day that gradually transformed into a lively house party, then morphed into a family reunion, and finally culminated in a stadium singalong.
The dual-stage setup prevented the energy from becoming stagnant, and the diverse lineup ensured that the typical reggae-rock festival issue of everything blending into a monotonous mid-tempo haze was avoided.
There were moments filled with bounce, moments steeped in reverence, moments of punky disruption, and moments where the crowd appeared content to simply drift along.
By the end, the name transformed from a mere pun into a true mission statement: Field of Dreamz represented a homecoming, a display of pride, and a heartfelt tribute expressed through basslines. It gave San Diego a festival with roots deep enough to matter and hooks big enough to echo off the upper deck.
For one Saturday, Petco Park did not belong to baseball – it belonged to the skankers, the smokers, the lifers, the families, the beach kids grown older, and the next wave learning the words in real time. This show was everything the city needed… exactly when we needed it.
FESTIVAL PHOTO GALLERY
by Highway One Photography
TO FOLLOW
SID 260617 | TRACI TURNER | EDITOR
