Fest Review: Doll Fest 2026 Day 2 at Oakstop California Ballroom in Oakland, CA

Technically, Sunday, March 29 felt like day three of Doll Fest for those of us who attended the Pre-Fest event at Ivy Room in Albany on Friday. Doll Fest Proper was held at the California Ballroom in Oakland, featuring a stacked lineup that covered everything from indie punk to hardcore to ska. The festival’s closing acts included Girl In A Coma, War On Women, and Bad Cop Bad Cop. There were plenty more where that came from, too, since festival doors opened early in the afternoon.

I attended the last festival day rather late, but observed the crowd’s anticipation the second I arrived. They were all still buzzing from the afternoon sets, without any lulling periods slowing things down. Instead, the one-stage festival seemed an appropriate setup. Many were excited for the return of Girl In A Coma, who had split for many years, leaving a chunk of their audience unable to catch a live performance at all. Thankfully, Doll Fest understood the assignment, giving the group plenty of time to catch up with the fans who missed out previously.

The first group I caught was Wheelchair Sports Camp. Led by champion Kayln Rose Heffernan, the group reminds its audience of human resilience. Heffernan’s performance is marked not by her disability, but by her worldview, which is contagiously optimistic. She knows that despite appearances, there is hope everywhere. Handling life with humor and a healthy amount of audacity, Heffernan shines on stage. She argues that her “cute wheelchair costs more than your sports car.” These takes are paramount in a culture that prioritizes materialism. Hefferan’s feisty sense of humor seemed effortless rather than contrived, a wonderful addition to Doll Fest’s lineup. I would easily consider myself a fan of Wheelchair Sports Camp after this performance.

Next up were War On Women. This high-energy band is aptly signed to Smartpunk Records, a label that prioritizes unique artists with a specific edge. Frontwoman Shawna Potter has an energetic stage presence that captivates new and returning audiences, marked by hair flips and well-timed jumps. The group leans towards riot grrl ideology and sound, with a modern twist. Their political motivations are found throughout each song, which is, again, exceptionally on-brand for Doll Fest. It should be noted that some controversy surrounds War On Women, but those seem to be internalized and settled this time. Regardless, War On Women offered a fun set to watch.

Girl In A Coma were a standout performance; they have earned their legacy status not only in literal time spent, but also in their connection to their audience, which didn’t waver during their extended hiatus. Queerness was proudly displayed throughout Doll Fest, but impossible to ignore during this set. A lesbian couple got engaged during their favorite song. Later, I learned that their story was deeply intertwined with Girl In A Coma. The pair parted ways 15 years ago, and Girl In A Coma were their favorite band. They reunited, only to find the group indefinitely separated. Doll Fest gave them the opportunity to see them that had been missed in their early romance. This serendipitous moment encapsulated the festival’s essence and purpose.

Otherwise, Girl In A Coma’s set was a pleasant surprise. I wasn’t expecting their indie punk sound upon looking at them—but looks can be deceiving! Their grit is matched by their melodic sensibilities, curating a hearty contrast. The band’s stage presence was palpable; it seems they are just as excited to be back as their fans are to have them back. Hopefully, their Doll Fest performance motivates them to stick around for the long haul.

Finally, Bad Cop Bad Cop took the stage. Like the day’s other acts, they offered genre hybridity with a political punch. The band was adorned with tshirts that said “Protect Trans Youth” and one that featured a QR code to access abortion pills for free. Again, the medium proves to be the message; the crowd was incredibly responsive to their political ideology, which aligns with Doll Fest’s goals. They spoke about bodily autonomy, freedom of speech, and other high-ticket issues throughout their headlining slot. Though they were the longest act of the night, it didn’t feel like it, in the best way possible. After the event, I went back and listened to their music on Spotify.

The general pattern for my Doll Fest experience was one of discovery. I hadn’t familiarized myself with the artists before encountering them at the event. I had heard of some of them, but only on a very surface level basis. Artists like Bad Cop Bad Cop had been among the category of “I’ll get to it eventually,” but eventually came sooner than anticipated, thanks to Maria Chaos’ well-oiled machine. Though rough around the edges, Doll Fest was, above all else, a communal display of expertly curated artistry. Most importantly, Doll Fest provided a place where everyone was free to be the truest version of themselves unabashedly.

Photos by Alan Snodgrass / Words by Kayla Moreno

Bad Cop/Bad Cop