A rap festival near the Arctic Ocean delights crowds under the midnight sun
Despite the time, Lapland's famous midnight sun was still up. During the summer months the sun doesn't go down at all in Utsjoki, which is less than 50 kilometers (30 miles) from the Arctic Ocean.
In the glow of blue spotlights, Laiti rapped while a crowd of more than 300 listened, some of them singing along and dancing. Like the majority of Utsjoki's residents, Laiti is a member of the Sámi — Europe's only recognized Indigenous people — and he rapped in his native Sámi language.
Laiti, also known by his stage name 'Yungmiqu,' is the founder of the Loktafeasta rap festival. He first found fame on the television show Talent Finland, where he surprised the judges by rapping in the gákti, the traditional dress of the Sámi. It is brightly colored and often characterized by plaits, pewter embroidery and a high collar.
The festival brought Laiti's Indigenous culture to the spotlight, though some of his fans could not understand what he was saying. That didn't seem to bother anyone at the Loktafeasta as the festival mixed performances from artists in both Sámi language and Finnish.
Some drank beer and ate sausages and the crowd seemed to enjoy the summer festival atmosphere despite spells of rain.
'When I rap about my culture ... I want to show how being Sámi is like from my point of view,' Laiti told The Associated Press.
'Because there are many stereotypes about Sámi people and I want to like normalize ... the basic stuff we do and not romanticize those things,' he said. He added that he has not worn the gákti for performances for about a year now to show people that it is possible to be Sámi and wear whatever you want.
Europe's only recognized indigenous people
The Sámi traditionally live in Lapland, which stretches from northern parts of Norway to Sweden and Finland to Russia. However, of the roughly 10,000 Sámi people living in Finland, the majority now live outside their homeland.
The Sámi people were oppressed for centuries by the powers that ruled and exploited their lands, including bans of the use of their native tongues and efforts to suppress their culture. In the past decades, there have been efforts to reestablish their rights, including the right to use Sámi languages which is now guaranteed in the Finnish constitution.
Today, the historically semi-nomadic Sámi people have modern lifestyles. The few who still tend reindeer do so with modern vehicles, digital tools and regulated land use.
However, there is an effort to preserve the Sámi's cultural identity. Distinctive Sámi clothing was worn by many at Loktafeasta, as is typical on special occasions.
Artists rap in Finnish and Sámi language
At the festival, Laiti mostly wanted his fans to be happy and enjoy the music.
'I want people to feel joy, of course, and I just want people to be happy that we have this kind of festival here in Utsjoki,' he said with a smile.
Among the other acts was a duo comprised of self-confessed old school tango crooner Jaakko Laitinen and rapper Jouni J. They also reside in Lapland and perform in Finnish.
'I see a connection from the hip hop and the tinkering with words to the old Finnish like Kalevala freestyling folk poetry,' said Laitinen, referring to Finland's national epic about the Earth's creation.
'So that obvious connection and the Finnish tango ... is part of our soul and heart,' he added.
A world away from the birthplace of rap music in the Bronx
Although the duo's songs were a world away from the birthplace of rap music in the Bronx in New York City, their performance brought joy to Utsjoki's locals and visitors.
'Music travels and music brings people together. It's the magic of the international language of music,' Laitinen said.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Forbes
8 hours ago
- Forbes
Rüfüs Du Sol, Twice Excite As Lollapalooza 2025 Continues In Chicago
'Lollapalooza, this is surreal…' mused Rüfüs Du Sol vocalist Tyrone Lindqvist on stage Saturday night during a massive headlining performance at Lollapalooza in Chicago. 'We played this festival maybe ten years ago and 300 or 400 people were there,' he continued midway through the group's set, introducing 'Fire/Desire.' 'This is so special to us.' Following appearances at Lollapalooza in 2016 and 2019, and stops at Lollapalooza Chile, Argentina and Brazil this past March, Australian alternative dance group Rüfüs Du Sol made a triumphant return to the Windy City Saturday night, with Lindqvist's comments on stage coming as he addressed a massive festival crowd assembled on Grant Park's south end as South Korean girl group Twice performed concurrently on the festival's north main stage. With themes like love, heartache and strength emerging from their latest studio album Inhale / Exhale, their fifth, Rüfüs Du Sol speak directly to their fans, creating a connection that was visible throughout the band's 90 minutes on stage Saturday night. 'We've been in town for the last few nights and can see that there's a lot of energy in town,' said keyboardist Jon George backstage Saturday night prior to the group's set. 'We've been looking forward to the show in general for a very long time ourselves. So, bringing all of that energy, we're excited to put on the show that we've been working on for the last year for everyone here,' he said. 'We've really built out a show that is pretty much consistent for our headline slots. And then for festival sets, things can change and we can kind of choose what the best setlist is to keep the energy up,' explained Lindqvist of how the trio goes about tweaking the set in order to connect with the larger festival crowds. 'Our main thing is making sure everyone has a good time out there. It's Saturday night, it's the middle of the festival. It's a really cool, eclectic lineup of all genres of music and I feel like we live in a fun, interesting spot between electronic music and alternative music,' said the singer. 'We've played this festival three times. So, it's a real gift and an honor to get to headline.' Following 'Pressure,' synths and percussion percolated early, driving 'Next To Me,' more synths kicking in as the beat dropped, driving the energy level of the huge crowd. 'You're gonna make everyone at home jealous watching this!' joked Lindqvist with a wink and a nod to those watching the set on Lollapalooza's Hulu live stream. 'Fire/Desire' raised the energy with the trio crafting an ethereal soundscape throughout 'Underwater.' 'There's another Australian band called Royel Otis. They actually played yesterday and we missed them. But we're huge fans of what they're doing,' said drummer James Hunt, pondering the group's weekend in Chicago. 'Doechii's playing - she's killing it. It's a pretty stacked lineup.' Playing opposite singer songwriter Clairo, Doechii attracted one of Saturday's largest crowds, with an overflow audience assembling at Lolla's T-Mobile main stage. 'Lollapalooza!' shouted the Florida-born rapper midway through her biggest hit 'Anxiety,' nearing the end of a 50 minute set. Scorching guitar tore through the song's early moments, giving way to a sample of Gotye's 'Somebody That I Used to Know.' Climbing to the upper level of a two-tiered stage Saturday night, Doechii dropped 'GTFO,' heading for home in Grant Park. A heavier rock element can be tough to find at times on the Lollapalooza stage but over the course of 45 minutes Bilmuri delivered on the festival's Grove stage. 'Can't complain, man. Aftershow was fun. Weather's great - ready to f–in' play!' said singer and guitarist Johnny Franck matter-of-factly backstage Saturday. Delivering a whopping 14 studio albums since 2016, Bilmuri adds a remarkably catchy element to songs skewing closer to hard rock and metal, recently dropping the single 'More Than Hate' while working on the next album. 'I just wanted to go heavier. Because that's where my roots are,' said Franck of the new single. 'It wasn't like it was a concerted effort - but it's just kind of what came out of me when I was writing the song. It's cool It's a good direction,' he said. 'I was working on the next album the day of American Motor Sports' release. 'So, we're crankin' away, dude. I think we're about 80% of the way there. We've got a full album's worth of songs. And now we're just kind of like, 'Let's see if we can beat it…' Which is a good place to be.' L.A. singer songwriter Charlotte Lawrence wrapped up a one hour set on the Lakeshore stage with a cover of Depeche Mode's 'Enjoy the Silence' one hour before rapper BossMan Dlow took to the same stage 'Chicago, what the f–k, man?' said Dlow on stage at Lollapalooza, initiating a classic call and response moment with the audience as he set up 'Pop My S–t.' 'If you're having a good time, lemme hear you say 'yeah!'' Following the release of her latest single 'Rhythm,' Naomi Scott performed for 45 minutes Saturday afternoon on the Grove stage. 'I'm really blown away actually. I feel like everybody was so lovely and willing. And I was playing a lot of new music,' said Scott backstage Saturday following her festival debut. 'I feel really blessed to be able to perform music I've worked on for a long time and worked so hard on and love. I'm just feeling really grateful to be honest.' The actor, who's appeared in films like the Guy Ritchie-directed 2019 live action take on Aladdin, has released a trio of EPs since 2014 with more music in the works. 'It's been a long time. But I feel very blessed. Because I get to make music with friends and people that I love and people that I reached out to that I thought was dope. And it's all been a process of finding the right people,' Scott explained. 'Also, for me personally, it's going back to basics. And many years ago deciding to just get back on the piano and write some of the cheesiest songs you can think of and go from there - and figure it out. And I think that's really worked for me. And I feel very excited to share it with the world.' Indie pop act Winnetka Bowling League opened up the Lakeshore stage early Saturday, knocking out an aftershow as opening act for Still Woozy at Chicago's House of Blues. 'The aftershow was fun. It was rad to play it before the actual show and get some of the nerves out,' said frontman Matthew Koma backstage following the group's set Saturday. 'You never know what it's gonna be with these early slots. But, luckily, a lot of people showed up today and made us feel a lot of love. And it was a great first Lollapalooza for us.' As a songwriter and producer Koma has worked with artists like Shania Twain, Bruce Springsteen and Britney Spears. Following the release of the debut Winnetka Bowling League album Sha La La last year, he's able to apply those experiences as work on the next record begins. 'New record starts in 24 hours - we start making it. So, right back to L.A. and start making the new album,' said Koma. 'I think, if anything, helping other people achieve the destination of their search and their identity puts into focus how that's really what we should all kind of be striving for and doing. So, it kind of keeps you honest,' he explained. 'It kind of keeps you making sure that you're staying in a lane and saying things that are really true to your experience. And I think working with other artists who are working so hard to create that world for themselves, you bring that back to your desk a little bit,' Koma said. 'And you can't help but keep that in mind when you're making your own collection.' Måneskin frontman Damiano David dropped his debut solo album Funny Little Fears this past spring and performed for 45 minutes Saturday on the Grove stage. 'This song is about falling in love at the end of the world,' said David on stage at Lolla, setting up 'Mars.' 'Which seems very possible these days!' he joked. Nearby, the Chicago Youth Symphony Orchestra built a classical bridge as K-pop closed the evening on the festival's Bud Light north main stage, wrapping up a 60 minute set with a gorgeous Stars Wars suite along the lakefront in Chicago. 'Are you ready?' asked the massive video screens rhetorically as TWICE readied to take the Lollapalooza stage, the first all girl K-pop act to do so in Lolla's 20 years as a destination festival in Grant Park. 'We got here two days ago. And it's been very nervewracking. And very busy,' said singer Jihyo through an interpreter about an hour before the group's history making performance as part of their 'This Is For' world tour. 'We've been rehearsing every day so it's been a very busy, hectic weekend.' Sparkling synths were resplendent Saturday night leading into 'The Feels' as temperatures dropped into the low 70s, a funky bassline soon accompanying the group's well-choreographed dancing. Lollapalooza's unparalleled downtown setting provided the perfect backdrop as fireworks soared overhead early during an extraordinarily entertaining take on the opener. Backstage, the group shouted out fellow Lolla performers Sabrina Carpenter and Clairo, with an eye on the idea of connection. 'I think it's music that connects us,' emphasized singer and rapper Chaeyoung via interpreter. 'This one is called 'MORE & MORE!'' exclaimed singer Nayeon on stage Saturday night. 'You know what to do,' she said, working the packed mainstage crowd into a frenzy, with guitar ringing out moments later during the live take on the track. Dueling drone shows lit up Grant Park as both TWICE and DJ duo Two Friends closed out Lollapalooza opposite Rüfüs Du Sol Saturday night. For TWICE, whose philanthropic efforts benefited victims of an earthquake in Turkey and Syria two years ago, giving back remains part of their global effort to connect. 'It's been very meaningful. Because a lot of times when we give back, I think we do it together with our fandom as well,' said Jihyo at Lollapalooza, stressing the strength of the group's relationship with its international fanbase. 'So, I think we're able to give a good influence to a bigger crowd.'


CBS News
a day ago
- CBS News
Deadheads flock to Golden Gate Park for second day of Grateful Dead's 60th anniversary celebrations
Tens of thousands of Deadheads packed San Francisco's Golden Gate Park on Saturday for the second day of a three-day concert series honoring the Grateful Dead's 60th anniversary. Fans traveled from across the country—and some from overseas—to take part in the milestone celebration. The show kicked off just after 4 p.m. on the Polo Field, which quickly filled as more concertgoers streamed in through the evening. Country rocker Sturgill Simpson opened the day's performances, with Dead & Company slated to headline later in the night. "Nothing's more important than going to a Dead show, man. It's the bomb," said Frank McGloin, a local fan from the Bay Area. The festivities extended well beyond the main stage. Earlier in the day, hundreds gathered in the city's Excelsior District—where Grateful Dead frontman Jerry Garcia grew up—for the 23rd annual Jerry Day at McLaren Park. At the Jerry Garcia Amphitheater, musicians filled the air with bluegrass and rock music, while fans danced barefoot in the grass and celebrated his legacy. "It's medicine music," said Antonio Aversano, a Deadhead from Sebastopol. "It's very spiritual—it's like going to church. It totally takes me out of my head and brings me into a connection with the divine." For Aversano, the entire weekend has been transformative. "The energy of the Summer of Love, the whole counterculture in the '60s—peace, love, community, celebration," he said. Many fans who attended Friday night's opening show planned to immerse themselves in every event throughout the weekend. "I think the Deadheads are probably the nicest, kindest people you'll ever meet in your life," said Maria Pruss, a fan from Southern California. "Huge community, big hearts." Deanna Neiers, who traveled from New York City with her two children, ages 7 and 9, brought a personal touch to the celebration. She and her kids designed and handed out custom-made stickers to commemorate the anniversary. "We made this special sticker to hand out to commemorate the 60th anniversary," Neiers said. "We've printed a bunch of them and we love the community. So we're just handing them out for free to everybody." A Deadhead for 35 years, Neiers said she attended Jerry Garcia's final concert in Chicago in 1995. "We wouldn't miss the chance to celebrate the 60th anniversary," she added. The concert series is also giving San Francisco's economy a welcome boost. City officials said hotels, restaurants, and local shops are seeing increased business from the influx of visitors. "When people come from all 50 states, all around the world, and they have a great time, which they are, they go home, they tell their friends, and those friends come back to San Francisco," said Mayor Daniel Lurie. "And we're going to welcome them with open arms." For Serena Cisco, who flew in from Nashville, the city's warm welcome stood out. It was her first visit in three decades. "Happy to be here. Thank you, San Francisco, for putting this on. The city has been so welcoming," she said. Though decades have passed since the Grateful Dead first took the stage, their music—and its messages of resilience and hope—continue to resonate deeply with fans. "The legacy of Jerry Garcia is certainly a message of positivity and hope," said Henry Wimmer of Open Mind Music. And for many Deadheads, like Aversano, the gathering is about more than just music. "This is about community. It's about getting along together. It's about celebrating life," he said. For those in attendance, there's little that compares to the feeling of being at a Dead show.
Yahoo
2 days ago
- Yahoo
Bob Dylan, Willie Nelson, Wilco, Lucinda Williams Storm Jones Beach at Outlaw Festival
The Outlaw Music Festival began nine years back as a single event in Scranton, Pennsylvania, featuring Willie Nelson, Neil Young, Sheryl Crow, Chris Robinson, and Lee Ann Womack. It's slowly morphed into a traveling fest that brings Nelson and a rotating cast of top-grade support acts to amphitheaters across America every summer, and they leveled up significantly last year by placing Bob Dylan in the penultimate slot every night of the run. They repeated the successful Bob/Willie formula this summer for an extensive, 36-show trek, and sprinkled on acts like Wilco, Sheryl Crow, Billy Strings, Waxahatchee, Lucinda Williams, Nathaniel Rateliff & The Night Sweats, and Bruce Hornsby & The Night Sweats at various stops along the way. Some nights have slightly stronger bills than others, but it's undoubtedly the most exciting/eclectic multi-artist show of the summer amphitheater season by a wide margin. More from Rolling Stone Is Bob Dylan's 'Subterranean Homesick Blues' Video the Most Copied of All Time? Lucinda Williams Is Opening a New York City Honky-Tonk Complete Unseen: New Doc on History of Newport Folk Festival Announced That was very clear August 1 when Lucinda Williams, and Wilco played truncated sets at Long Island's Jones Beach Amphitheater before handing the evening over to Dylan and Nelson. These are four totally unique acts with fairly different approaches to live performances, and their own massive followings, but they all have a deep love and respect for American roots music that permeated through the entire night. Due to tremendous good fortune, it was an unseasonably cool night at Jones Beach following two weeks of scorching, record-high temperatures, and a massive thunderstorm the prior evening that generated flood warnings all across the region. This placed everyone in a cheerful mood as Lucinda Williams took the stage in the very late afternoon. (Unfortunately, I arrived too late to see opening act Waylon Payne, but I caught him later when he played with Willie Nelson. Jones Beach is a beautiful amphitheater directly on the water, but the mass transit options from New York City are less than ideal.) Williams no longer plays guitar due to a stroke she suffered in 2020, but she made the excellent decision to bring former Black Crowes guitarist Marc Ford into her band to compensate, and her singing voice retains much of its power. The set began with back-to-back songs from her 2023 LP Stories from a Rock n Roll Heart, 'Let's Get the Band Back Together' and 'Stolen Moments,' before dipping back to Car Wheels on a Gravel Road for 'Drunken Angel.' Midway through her set, Williams broke out Memphis Minnie's 'You Can't Rule Me,' dedicating it to the 'so-called king of the United States.' She didn't speak Donald Trump's name once, but it wasn't necessary. Prior to that, she unveiled her excellent new ballad 'Lowlife' ('Play Slim Harpo on the jukebox/Let me go with no shoes or socks') that will hopefully appear on the next LP. She closed out the set with the Beatles' 'While My Guitar Gently Weeps,' giving Ford and guitarist Doug Pettibone the chance to show off their chops, 'Joy,' 'Righteously,' and a fierce take on Neil Young's 'Rockin' In The Free World' that brought the capacity crowd to their feet. A decent percent of the Outlaw crowd is on the elderly side, and it's unclear how many of them were familiar with Wilco when they took the stage, but it didn't take long for Jeff Tweedy and company to win them over with a set packed with staples like 'I Am Trying to Break Your Heart,' 'Jesus, Etc.,' 'Handshake Drugs' and 'Walken.' None of these songs are 'hits' in the traditional sense since Wilco never had anything resembling a Top 40 song, but they've been perfected across hundreds and hundreds of concerts by one of the greatest live bands of the past quarter century. Nels Cline delivered an epic, mind-bending guitar solo on 'Impossible Germany,' proving once again that he's one of the single greatest guitarists of his generation. And Willie Nelson's harmonica player Mickey Raphael came out to join them on 'California Stars,' wearing a Flaco Jimenez t-shirt to honor the legendary Tejano accordionist, who died this week. They closed out with a cover of the Grateful Dead's 'U.S. Blues' that caused the place to absolutely erupt with joy. (It's always a good time to cover the Dead, but this was also Jerry Garcia's birthday, and the first day of the Dead's 60th anniversary celebration at San Francisco's Golden Gate Park.) As the sun began to set, the crew removed Wilco's gear and set the stage for Bob Dylan and his band. On most Outlaw dates last year, Dylan compromised on his usual stance and allowed venues to display a single, distant shot of his set on the screens, giving people in the upper seats at least a vague sense of what was happening on stage. This year, the screens remained completely dark, meaning the vast majority of the audience saw nothing more than a distant, blurry figure in a white hat perched behind a piano. And if you were in the nosebleeds, it's unlikely the figure was anything more than a tiny dot. If nearly any other artist pulled this move at a large amphitheater, a rebellion would likely brew. (Back in 2012, Peter Gabriel kept the screens off for his first few songs at Jones Beach, and fans howled in frustration until they were illuminated.) But Bob Dylan fans are a different breed, and they simply leaned forward and focused on the music. Unlike his indoor theater shows of the past few years, which focus heavily on material from 2020's Rough and Rowdy Ways, this was Dylan's version of a crowd-pleasing set that drew from all eras of his career. That doesn't mean he played any actual hits besides a radically re-worked 'All Along The Watchtower' that stripped out every bit of Jimi Hendrix's influence, but it did mean we heard 'To Ramona,' 'Desolation Row,' 'Gotta Serve Somebody,' and 'Love Sick' from his back catalog. More importantly, he was once again in remarkably clear voice, even if he occasionally slurred lines in wordy tunes like 'Desolation Row.' Many people were forever turned off to Dylan shows after witnessing 'wolfman' era gigs about a decade back, but they need to give him another chance. Somehow or another, at age 84, his voice has been rejuvenated. It's a minor miracle. If you're only seen Dylan at a theater these past few years, the atmosphere of the Outlaw Festival will be quite jarring. At the theaters, phones are taken away, the houses are completely dark and silent, and ushers roam the aisles with flashlights to pounce on anyone violating the rules. At the Outlaw shows, people are eating chicken fingers, spilling ketchup on themselves, chugging beers, loudly talking with their friends, scrolling through their phones, and taking selfies with Bob in the background. It's the opposite vibe in nearly every imaginable way. As always, practically every song in Dylan's set was rearranged not just from its original version, but the live rendition we heard as recently as last summer. ''Til I Fell In Love With You' is now practically a spoken-word track with sparse instrumentation, 'Gotta Serve Somebody' has a rollicking groove, and 'Blind Willie McTell' has rarely sounded so loose and playful. There are some grumblings in the fan community that nearly 30% of the set is devoted to obscure covers like 'Charlie Rich's 'I'll Make It All Up To You,' Bobby 'Blue' Bland's 'Share Your Love With Me,' and George 'Wild Child' Butler's 'Axe and the Wind,' but Dylan delivers them with real passion and tenderness. And if they cause anyone to seek out the originals, he's done them a favor. The set wrapped with a revved-up 'Highway 61 Revisited,' Roy Acuff's World War II-era folk song 'Searching For a Soldier's Grave,' which Dylan regularly played live at the turn of the century and only recently resurrected, and 'Don't Think Twice, It's All Right.' Casual fans perked up at the latter one, and some surely recognized it from A Complete Unknown. He delivered it like a torch ballad, and it was easily the most moving moment of the evening. There's virtually no figure on the planet with the song catalog and the gravitas to follow that besides Willie Nelson. He missed several shows last summer due to health matters, and he looks every day of his 92 years, but every ounce of his essential Willie-ness remains. Smartly, he's stripped his band way down to the essential players, centering the focus on his voice and guitar. His lean band includes Waylon Payne, who doubles many of the vocals, and takes over on lead for a handful of songs, including 'Me and Bobby McGee,' 'Help Me Make It Through The Night,' ' and 'Workin Man Blues.' This gives Willie a chance to catch his breath, and prep for the next song. Willie standards like 'Angel Flying Too Close to the Ground' and 'You Were Always On My Mind' sounded absolutely majestic, and were reminders that this man wrote a decent chunk of the Great American Songbook. It's impossible to cram all into one set, so he combined 'Funny How Time Slips Away,' 'Crazy' and 'Night Life' into a medley. Wilco came back out near the end of the set for 'Will The Circle Be Unbroken?,' but there was no sign of Dylan. Oddly enough, despite their close friendship and long history of onstage collaborations, they haven't appeared together at a single Outlaw Festival. It's a tremendous missed opportunity because a duet on 'Poncho and Lefty,' 'You Win Again,' or 'Heartland' would set any venue ablaze. The tour continues Saturday night in Saratoga Springs, New York, and wraps up September 19 in East Troy, Wisconsin. Let's hope they're back next summer for another round. It's only been two years of Bob and Willie leading this tour as a combo act, but it already feels like a summer tradition. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword