Day three of week two at the New Orleans Jazz & Heritage Festival delivered an exhilarating mix of high‑energy performances, soulful melodies, and vibrant cultural moments that captivated festival‑goers all afternoon and evening.

The early afternoon sizzled with Samantha Fish’s set on the Festival Stage, already filling up with chairs and eager fans by 2 p.m. The blues‑rock guitarist leaned into her rock roots, unleashing gritty, electrifying solos that had the crowd on its feet. At times, Fish played an electrified cigar‑box guitar, adding a raw, primal edge that truly energized the audience. Fresh off her latest album, Paper Doll, Fish is gearing up for an international summer tour across the U.S., U.K., and Europe—an artist to catch whenever she returns home.

Despite earlier gloomy forecasts, Saturday’s turnout was impressive. The main gates buzzed with activity by early afternoon as weekend patrons staked out their spots for the evening’s headliner. While overall attendance in 2025 was slightly down—around 460,000 compared to over half a million in previous years—the vibe remained festive and lively.

The weather was warmer than previous days, with clear skies and just a hint of humidity that energized the crowd. Many attendees looked forward to Pearl Jam, making their first Jazz Fest appearance in nine years (previously on the bill in 2010 and 2016). Fans camped out early to secure prime spots for the legendary band’s closing set on the Festival Stage as the sun dipped lower, building anticipation for the evening’s grand finale.

Before Pearl Jam took the stage, Dumpstaphunk delivered a commanding performance, reminding everyone why they’re one of New Orleans’s premier funk bands. Core members Ivan Neville, Tony Hall, and Ian Neville remain at the helm, and new additions—guitarist Ari Teitel and powerhouse horn players Ashlin Parker, Brad Walker, and Alex Wasily—added layers of depth and vibrancy. Dumpstaphunk kicked off with a nod to The Rolling Stones’ “Doo Doo Doo Doo (Heartbreaker)” from Goat’s Head Soup, then powered through their signature “The Greatest Place on Earth” and crowd favorites “Dancin’ to the Truth” and “Put It in the Dumpsta.” Their high‑energy set set the perfect stage for the night’s headliner.

On the contemporary front, the Mexican Institute of Sound brought its eclectic blend of electronic beats, live instrumentation, and samples to both the tent and Congo Square Stage. Led by DJ and producer Camilo Lara—dressed in a vibrant red jumpsuit and a “Mexico Anti‑Fascista” T‑shirt—the group kept energy high with tracks like “Alocatel,” “El Jefe,” “Mexico,” and “Es Toy.” Lara’s playful banter (“Send me a text!” during “Escríbeme Pronto”) and blend of cumbia, ’80s‑style beats, and rap created a lively, danceable atmosphere.

Back on the Gentilly Stage, Rickie Lee Jones performed for a large afternoon crowd. Backed by a full band and horn section, she opened with “Danny’s All-Star Joint,” “Chuck E.’s in Love,” and “The Last Chance Texaco,” laying the groundwork for a compelling hour of music. Jones shared that this was only her second Jazz Fest appearance, reflecting on how performing at home can feel like being a prophet in one’s own land—an insight that infused her set with poignant humor.

Meanwhile, Laufey, the Icelandic jazz‑pop sensation, drew a mainly younger audience. Known for her TikTok fame and classical upbringing—her mother was in the Icelandic Symphony Orchestra—Laufey exuded timeless elegance in a sequined dress. Despite a few lyrical flubs, she charmed fans with heartfelt renditions of “Falling Behind,” “Let You Break My Heart Again,” “Valentine,” and “From the Start.” She shared her joy at performing in New Orleans for the first time and closed with the fan favorite “Silver Lining,” hinting at new music coming later this year.

As evening approached, Maggie Koerner took the penultimate slot on Gentilly, offering a soulful, ethereal set. The alt‑rock singer—basking in the beautiful weather—performed her 2022 hit “Shadows” and closed barefoot with “If I Die.” Her band’s use of violin and cello added an emotional lushness, highlighting her ability to channel vulnerability and strength on stage.

Finally, Pearl Jam closed the main stage with a dynamic, crowd‑pleasing performance. The band fielded rare requests like “Love Boat Captain” and filled their setlist with hits from their heyday—opening with “Corduroy,” and weaving in “Daughter,” “Even Flow” (dedicated to Saints superfan Steve Gleason), “Black,” “Jeremy,” and “Yellow Ledbetter.” They also showcased newer material from last year’s Dark Matter. As tradition dictates, they wrapped up with Neil Young’s “Rockin’ in the Free World” and The Who’s “Baba O’Riley,” leaving the audience energized and satisfied.

While Pearl Jam and Laufey drew massive crowds to the main stages, blues aficionados caught a blistering set from guitar wizard Kenny Wayne Shepherd and his band—culminating in a surprise jam with 91‑year‑old blues legend Bobby Rush. Earlier in the afternoon, Deacon John Moore (83) delivered a fascinating performance, reminding everyone of the festival’s deep blues roots.

Overall, Day Three celebrated musical diversity, cultural richness, and community spirit against the iconic backdrop of New Orleans. From fiery blues and funky grooves to jazz‑pop elegance and classic rock anthems, the festival once again proved its status as a premier musical gathering.