A new one-day festival named Fool in Love attracted a large audience, taking place in the parking lots adjacent to SoFi Stadium in Inglewood, California. Scheduled for August 31, 2024, this event featured an impressive roster of iconic artists, such as Diana Ross, Lionel Richie, Santana, Smokey Robinson, Al Green, Gladys Knight, Chaka Khan, and numerous others. The ambitious lineup enticed thousands of attendees who endured the intense heat, harsh asphalt, and the challenge of navigating four widely spaced stages. While helmets and a caravan of camels might have been beneficial, the opportunity to witness such extraordinary talent made the journey worthwhile.
The event was produced by Live Nation and Redrock Entertainment in collaboration with C3 Presents, all of whom are experienced in organizing outdoor festivals. One might assume that such expertise would guarantee effective management of logistics and attendee comfort. Regrettably, this was not the reality. Fool in Love encountered several challenges, including the typical long queues, exorbitant prices for food and beverages, and overlapping performance schedules that forced attendees to make difficult choices between their preferred artists.
The challenges faced at multi-stage music festivals have become commonplace; nevertheless, attendees continue to invest significant amounts for tickets, food, and merchandise, drawn by the allure of renowned and historic lineups. However, at Fool in Love, exorbitant parking fees, extensive walking distances, and frustrating congestion at entry points and stages created an unusually challenging experience. Crowds gathered near the outer Cruisin’ and Bounce stages due to a suboptimal layout, insufficient signage, and barriers that hindered the smooth movement of attendees between stage areas. Once fans settled at the adjacent Fool and Love stages, navigating to other areas became difficult as zones designated for personal chairs created impenetrable barriers without clear pathways for entry or exit.
Regarding the musical performances, aside from some sound mixing issues at the Bounce stage, the twelve-hour showcase of talent was largely commendable. Unfortunately, no groundbreaking moments transpired; there was anticipation for Nile Rodgers to perform his iconic guitar riff from “I’m Coming Out” alongside Diana Ross, or for Lionel Richie to join her for their classic duet, “Endless Love.” A reunion featuring Richie and the Commodores would have also been remarkable. While some legendary performers struggled to take the stage and showed signs of age, many others defied the passage of time, delivering performances reminiscent of their prime.
The arduous journey to the Bounce stage proved worthwhile as attendees were treated to back-to-back performances by Smokey Robinson and Al Green. Unfortunately, Robinson's vocals were somewhat obscured in the sound mix, a recurring issue throughout the day at that venue. Nevertheless, the legendary artist's commanding stage presence, alluring movements, and engagement with the audience—particularly the women—ensured a memorable experience. He delivered renditions of "Second That Emotion," "You've Really Got a Hold on Me," and "Cruising." Subsequently, the Reverend Al Green appeared in a meticulously tailored suit, warmly greeting the audience before tossing long-stemmed roses to the women positioned at the front. The crowd was elated to hear his remarkable voice still resonating on classics such as "Let's Stay Together" and "Love and Happiness."
Although the majority of the performances during the day were relatively short, attendees were treated to 90-minute sets by the final acts on the two primary stages. The first performance showcased a blend of Latin, salsa, and jazz fusion, which has notably influenced the rock legend Santana. While Carlos Santana may not exhibit a high level of energy or flamboyance during his performances, his exceptional guitar skills more than compensate for his limited movement. His wife, Cindy Blackman Santana, delivers powerful drum rhythms, and the rest of the ensemble, featuring vocalists Andy Vargas and Ray Greene, effectively engage the audience.
They presented a series of iconic songs that defined their career, including “Jingo,” “Evil Ways,” “Black Magic Woman,” and “Oye Como Va.” The concluding segment included “Corazon Espinado,” “Maria Maria,” and “Foo Foo,” showcasing Carlos's virtuoso guitar work. The encore commenced with a rendition of The Isley Brothers’ “Are You Ready People,” which featured a dramatic drum solo by Blackman Santana, before culminating with the band’s major hit “Smooth.”
Diana Ross continues to exemplify the essence of a true Diva. Throughout her performance featuring Motown classics, disco hits, and pop anthems, she executed four costume changes. The show commenced with a captivating montage showcasing photos and videos from her remarkable career in both singing and acting. In the initial segment of her set, Ross delivered a medley of songs by The Supremes, including iconic tracks such as “Baby Love,” “Stop! In the Name of Love,” and “You Can’t Hurry Love.” The momentum persisted as she passionately performed “Upside Down,” “Love Hangover,” and “Ease On Down The Road,” a song she famously collaborated on with Michael Jackson.
To conclude her performance, Ross presented a series of well-known covers. She seamlessly wove together stunning renditions of The Four Tops’ “Reach Out I’ll Be There,” Frankie Lymon & The Teenagers’ “Why Do Fools Fall in Love,” Marvin Gaye & Tammi Terrell’s “Ain’t No Mountain High Enough,” and capped off the evening with a powerful rendition of Gloria Gaynor’s “I Will Survive.”
The sentiment of being tantalizingly close yet distinctly distant resonated with many as Ross concluded her performance, while Lionel Richie awaited his turn backstage. It was unfortunate that the circumstances did not permit the two artists to share the stage, perhaps even via a quick ride in a golf cart. During his set, Richie revisited his extensive repertoire, which included hits from the Commodores, his solo career, and a notable collaboration. Among the Commodores' classics were “Three Times a Lady” and “Easy,” both of which he delivered while skillfully playing a magnificent grand piano. Additionally, he presented a lively medley of “Brick House” and “Fire.”
The evening culminated at the bustling Cruisin’ stage with the indomitable George Clinton & Parliament Funkadelic. While the audience at Lionel Richie’s performance appeared fatigued after a long, sweltering day, the crowd for Clinton’s ensemble was still eager to celebrate. Clinton's frequent retirement announcements have become a humorous refrain, yet he continues to be the driving force behind Parliament. Their extravagant stage presence and captivating music fulfilled the audience's desires. Clinton guided a vibrant band featuring provocative dancers, backup vocalists, a brass section, and longtime guitarist DeWayne McKnight through spirited renditions of “Flash Light,” “One Nation Under The Groove,” “Give Up The Funk (Tear the Roof Off the Sucker),” and concluded with the iconic “Atomic Dog.”
The Fool in Love festival presented a mix of positive and negative elements. It may have been overly ambitious to assemble such a multitude of legendary performers for a single-day event, and the logistical arrangements could have been improved. However, for the attendees, the challenges are likely to fade in memory, overshadowed by the enchanting performances from a plethora of stars that are unlikely to converge in one location again.
