Despite logistical challenges, Proper NYE/NYD delivered high-energy and heartwarming experiences over its two days at Petco Park.
FNGRS CRSSD has established itself as a premier festival producer in San Diego, significantly contributing to the growth of the electronic dance music scene by hosting major events like CRSSD that feature top-tier artists.
When FNGRS CRSSD announced its expansion to include New Year’s events, I was eager to attend. In its third year—and my first as an attendee—Proper NYE/NYD returned to its home in Downtown San Diego at Petco Park, showcasing over 50 artists across four stages: Field, Park, Wall, and Lot.
True to FNGRS CRSSD’s signature style, the lineup boasted massive names like Kaskade, John Summit, Dom Dolla, Charlotte De Witte, and Green Velvet, along with a strong undercard. Anjunadeep and This Never Happened also hosted stage takeovers, setting the stage for an unforgettable New Year’s celebration.
The first day of the event, New Year’s Eve, was filled with palpable excitement. I arrived early at the Box Office to collect my ticket, familiarize myself with the venue, and catch some early performances.
New Year’s Eve kicked off casually with Green Velvet at the Park stage, after which I headed to the Field for AYYBO and John Summit.
AYYBO stood out as my favorite new music discovery, delivering one of the best sets of the event. His thick, bass-heavy house set was packed with IDs that kept me dancing throughout.
Following AYYBO, John Summit took the stage for an earlier-than-usual set at 6 PM. He began with his famous “I miss the old Summit” intro before launching into “Acid” and Oddmob’s remix of “Palm of My Hand.” His set was high-energy from the outset, with euphoric moments when he played singalong tracks like “Where You Are” and “Go Back.”
Experiencing such a high-production concert within the infield of Petco Park was inspiring. The venue’s stadium aesthetic and the view of the San Diego skyline provided a perfect backdrop for memorable musical moments.
While I cherished these experiences, the event site quickly became hectic, leading to discomfort. The Field reached capacity during John Summit’s set, prompting organizers to display a message on the stadium LED screen advising attendees to “enjoy this set from the seating bowl or visit another stage.”
Heeding their request, I moved to the Lot stage for Layton Giordani and then to the Wall for Luttrell. Each stage had its own distinct production and ambiance. While the Lot offered a larger space, I found a cozy home in the intimate sets at the Wall. Additionally, the Anjunadeep (NYE) and This Never Happened (NYD) takeovers provided melodic escapes from the chaos of the Field.
While the map suggested the stages were far apart, navigating the venue on New Year’s Eve after 7 PM proved to be quite challenging.
I was surprised by how quickly I could traverse between stages when crowds were manageable. However, on New Year’s Eve, navigating the venue became a challenge due to major bottlenecks and long lines for restrooms and concessions.
Traveling from Lot or Wall to Field or Park and back was a daunting task. With the Field at capacity and a general crowd flow throughout the festival, it often felt uncomfortable—possibly even oversold.
Despite this, I made my way back to the Field, eager to ring in the New Year with Eric Prydz. The capacity notice remained, but attendees found creative ways onto the infield, whether by locating unattended entrances/exits or vaulting over barriers, making the Field increasingly chaotic as the night wore on.
I ultimately decided to ring in the New Year with Eli Brown. Although I love Eli, after envisioning a melodic Eric Prydz countdown and enduring a taxing day, I left shortly after the countdown.
While there were positive moments, I considered day one to be less than ideal. Nonetheless, I remained excited for the This Never Happened takeover on New Year’s Day.
New Year’s Day ushered in a refreshing vibe thanks to the This Never Happened takeover and fewer attendees.
There were noticeably fewer people on New Year’s Day, likely attributed to higher single-day ticket sales; perhaps some two-day ticket holders had too long of a night at the afters.
Regardless of the reason, day two was absolutely magical. As a big fan of This Never Happened, I anticipated spending most of my time at the Wall. I felt confident knowing it featured my favorite music and would be less crowded.
The takeover commenced with uplifting sets from Otherwish and Massane, providing a perfect start to the day and renewing my enthusiasm for what was in store.
The crowd was friendly, and there was ample space to dance—even as Rinzen, Sofia Kourtesis, and Embrz played later into the night. Despite my reluctance to leave the Wall, I made my way to the Field to catch This Never Happened founder Lane 8 b2b with labelmates Sultan + Shepard.
Even though the field capacity message still flashed on the LED screen, I was determined not to miss this Lane 8 b2b Sultan + Shepard set. I successfully navigated onto the infield and was grateful I did. Watching from the seats wouldn’t have provided the same experience; the production elements would have obstructed my view and made dancing freely more challenging. Field sets are designed to be experienced from the field, and ensuring this access should be a priority for organizers.
Unsurprisingly, Lane 8 b2b Sultan + Shepard was one of my favorite sets of the event. With an endless array of melodic, feel-good tracks and a trove of IDs, the trio made for a perfect back-to-back performance. After that set, I floated over to the Park stage for my most anticipated show of Proper, Elderbrook.
Arriving at the Park stage for Elderbrook’s live set was a delightful surprise, especially running into friends!
The poster suggested that Manics was the only “live” act, but other artists, including Vandelux and Elderbrook, also incorporated live elements into their performances. Elderbrook’s set was an exhilarating change of pace from the DJ sets throughout the weekend, showcasing his unmatched energy as he belted out hit after hit while drumming, dancing, and playing keys.
With his latest album and tour, Elderbrook’s set included tracks from Another Touch along with favorites from his entire discography. Each time I see him, he seems to elevate his performance. Elderbrook was undoubtedly my favorite set of the weekend, although many of my cherished moments came shortly thereafter at the Wall.
I wrapped up Proper day two with Le Youth and the This Never Happened crew at the Wall. Le Youth always brings infectious energy, and the San Diego crowd responded enthusiastically.
He even invited LeyeT on stage to perform a few of their collaborations. During a playful mashup of “Feel Around You” and “Quiet Rush,” both LeyeT and Le Youth hyped the crowd from the railing. When Le Youth returned to the stage, Lane 8 and Sultan + Shepard were there to embrace him for playing their track and crafting an epic remix.
This moment encapsulated my day two experience: music, joy, and camaraderie. It highlighted how This Never Happened has fostered a unique, familial vibe through their music, label, and community. To cap it all off, I had the pleasure of meeting members of the This Never Happened crew, including Lane 8, Rinzen, Le Youth, Massane, and Embrz. It was the perfect way to kick off the new year.
While music salvaged my experience, FNGRS CRSSD must reevaluate certain aspects to ensure Proper NYE/NYD attendees feel safe and receive the full value of their ticket.
There are significant areas for improvement between this edition of Proper and the next. It’s unacceptable to have such disorganized logistics at the Field; entrances and exits should be wider and more clearly marked. Adjusting set times could also help manage crowd sizes, preventing attendees from feeling compelled to navigate to more congested areas by jumping barriers. In case of an emergency, there was no clear way out of the infield bowl, which could hinder medical response times.
Many attendees paid $250+ to see specific artists only to be redirected to another stage or told to watch from the seated area. Furthermore, when attendees were forced to transition from the Field to another stage, they were bombarded with numerous vendors, sponsors, and concessions, obstructing their view. Additional programming, such as activations, workshops, or art installations, could enhance the experience and provide more than just cash grabs. Allowing general admission access to the Field terrace might have increased capacity by providing another viewing area.
The organizers of Proper can learn valuable lessons from this past festival. Thankfully, the music on day two salvaged my experience, but the glaring shortcomings cannot be ignored.
For Proper to continue thriving, the organizers must tighten logistical aspects and genuinely consider the well-being of their supporters. FNGRS CRSSD has a clear talent for booking outstanding musical lineups; this needs to be matched with thorough planning, foresight, and care.
