The 2025 Head in the Clouds Festival (HITC) was held on May 31 and June 1 at Brookside at the Rose Bowl in Pasadena, California. The festival, hosted by Asian media collective 88rising, celebrated its 10th anniversary while showcasing a diverse lineup of Asian artists, delivering unforgettable performances that highlighted the power of Asian music and culture.
As someone who has been involved with 88rising in multiple roles over the years, first as an audience member, then as a content creator, small vendor selling clothes at the HITC Night Market, and finally now as a part of the press, I’ve witnessed that growth on a more personal level. 88rising showed me that culture isn’t static; it grows alongside the people who create it. What was once a single-stage show at the Los Angeles State Historic Park in 2018 transitioned to this year’s multi-stage production at the Rose Bowl, headlined by legends like G-Dragon and 2NE1. Over the past decade, 88rising has grown from a viral sensation fueled by the global wave of Asian music to one of the most influential pioneers in global music.
This year honored the legacy of Asian creatives’ music journey with a lineup that spanned generations and genres. From veterans like Rich Brian and DPR Ian to emerging voices like Number_i and Milli, every act felt like a chapter in a broader cultural narrative: when the final chords faded, every single artist from the weekend, arm in arm with their friends and families, stepped onto the stage. Some stood while others sat cross-legged beside each other, singing in unison under one summer night sky. Rather than a finale, it felt like a reunion: a closing scene that embodied community and continuity.
G-Dragon: K-pop icon G-Dragon delivered a rare North American performance, captivating the audience with his dynamic stage presence and maximalist fashion. He wore a royal blue embroidered coat adorned with intricate floral prints and multicolored trim, paired with vivid red printed pants. His entrance was theatrical and deliberate, commanding attention before he performed multiple tracks from his latest album, Übermensch. A surprise guest appearance by fellow 2nd generation artist CL added a nostalgic touch, delighting older and younger fans alike.
2NE1: The nostalgia continued in 2NE1’s set. While member Park Bom was notably absent, fellow members CL, Sandara Park, and Minzy reunited to deliver a high-energy performance from their iconic discography to excited fans. Just before the set began, staff tossed out LED light sticks into the audience, ones that synced and changed color throughout the performance, turning the crowd into a sea of coordinated lights. The set opened with “FIRE” and included hits like “I Don’t Care,” and “Falling in Love.” CL also performed solo songs “The Baddest Female” and “MTBD,” earning the loudest crowd reactions of the night.
DEAN & Tabber: These two artists made their HITC stage appearance together, showing off their strength as artists both individually and as a duo. Both artists specialize in R&B and moody synths, and together they leaned into intimacy of the notes over spectacle. Noteworthy tracks included “007” and their collaborative song “Chi-Ka” which all showcased their ability to weave vulnerability into melody, balancing DEAN’s soulful vocals with Tabber’s textured harmony. What made them stand out was the way they played with each other's emotional tone, like a conversation unfolding in front of the audience. The crowd was there to witness in their live studio session, creating an energy magnet that locked in everyone completely from start to finish.
Rich Brian: Indonesian rapper Rich Brian performed his new songs with a theatrical entrance, descending a black staircase while mimicking the visual motif from the trailer of his upcoming album WHERE IS MY HEAD? His setlist included tracks like “Tokyo Drift Freestyle,” “Who That Be,” and “Jumpy,” the third of which also included a guest appearance by Ski Mask the Slump God. His songs reflected on his personal experiences and were accompanied by childhood photos that were displayed on stage.
KUN: Making his official debut at HITC, Chinese pop artist and former nine percent member KUN brought a polished, passionate set to the HITC stage. His appearance was a standout moment for Mandopop fans, marking the growing presence of Chinese talent in the global festival circuit. Among the highlights of the performance of his new single “Deadman,” a moody atmospheric track layered with a spotlight cast over a fog-covered stage. The song leaned into a darker, more vocal heavy sound than his earlier pop-centric release. Signaling a new artistic direction: one that is more introspective, cinematic and emotionally raw. As the lights dimmed, KUN was reborn as a new artist.
Jackson Wang: Jackson Wang’s goals for the MAGIC SHOW Party were more about presence than performance. He invited the audience to not just watch but to experience his own musical universe: shaped by his emotions, lived experiences, and inner conflicts. Stepping on stage to promote his track “GBAD”, he invited his friends and family to sing along on stage leading to a solidarity finale. The song delivers blunt honesty, with lyrics like “life is bad, just gotta be a dick sometimes” capturing his current mindset. Rather than standing alone in the spotlight, Wang surrounded himself with friends and collaborators who sang “GBAD” with him on stage. He walked along the barricades, reached out to fans, and strolled side by side with fellow artists mid-set. Wang created a space for shared emotions, held up by the people around him.
Beyond the music, HITC has always represented something larger in the creative community built around Asian identity and connection. From the early days of 88rising’s online virality to its present-day festival scale, the collective has expanded what it means to be seen and heard.
HITC has grown with its community and continues to open its doors for artists, audiences, and staff alike to learn and grow together. This year’s tenth anniversary was not only a celebration of the past but a reflection of how far the festival’s cultural reach and influence has come. As 88rising continues to evolve, the infrastructure around its flagship event should grow with the same ambition and care it applies to the artistry on stage.
That spirit of community also extended off-stage—in response to the Los Angeles fires, 88rising and the Rose Bowl Operating Company donated $250,000 to the Eaton Fire Relief & Recovery Fund. The gesture reflected the same values present throughout the festival: having a deep sense of cultural responsibility through its care for community. HITC continues to be a living, shifting archive of what it means to be Asian in the world right now: multifaceted, expressive, and always moving forward!
