Looking Back at FireAid, a Landmark Concert of Heartbreak and Hope Donovan Roche by Donovan Roche Feb. 8, 2025, 11:30 p.m.

Some of music's biggest stars came together on Jan. 30 to support Los Angeles in the wake of the city's devastating wildfires, turning FireAid into an unforgettable night of music and solidarity. At least 39 artists across two venues, Intuit Dome and the Kia Forum, performed 68 songs over six hours, weaving together a sonic tapestry of past and present, heartbreak and hope.

The impressive lineup ranged from young rising talent like Gracie Abrams, Tate McRae, and Olivia Rodrigo to living legends such as Rod Stewart, Stevie Nicks, and Joni Mitchell. Many artists - like the 81-year-old Mitchell, synonymous with the Laurel Canyon scene - had direct ties to the L.A. area. Some even lost their homes in the Pacific Palisades or Altadena fires, including members of the band Dawes.

If you missed the livestreamed event, adroitly produced by the Azoff family, Live Nation and AEG Presents, the night featured many straight-ahead hits and an intriguing mix of surprising collaborations, captivating covers, and rockin' reunions.

Below, I break down some of the best moments, and a few that didn't quite hit the mark. If you'd like to watch the whole shebang, you can here. Thus far, FireAid has raised an estimated $100 million from sponsorships, concert ticket and merch sales, and donations. You can still contribute to relief efforts by donating here.

Surprising Collaborations

The night kicked off with an unexpected collaboration at the Kia Forum. As Green Day's Billie Joe Armstrong opened with "Last Night on Earth," another Billie (Eilish) strolled out to join them. It was a subdued start, made more poignant by images of the fire's destruction on the big screen behind them and the song's haunting lyrics: If I lose everything in the fire/I'm sending all my love to you.

Another standout collab arrived with one of the night's few nods to R&B and hip-hop. Anderson .Paak and Sheila E. (who would win her first GRAMMY a few nights later) electrified the stage with dueling drums on .Paak's "Put Me Thru." But the real thrill came when Dr. Dre, celebrating 40 years in the game, joined the party for "Still D.R.E." and "California Love," the Tupac Shakur song he produced. Dre's rap was still strong and the crowd's Shake it, Cali singalong yielded an early high point.

Later in the evening, Stevie Wonder's three-song set brought the funk, but an unceremonious mid-song arrival from Sting on "Superstition" felt more like an afterthought than a true collaboration as The Police singer coasted through half-heard backing vocals. Things improved on "Higher Ground," during which Sting's touch reminded one of his memorable contributions to Dire Strait's "Money for Nothing." When Red Hot Chili Peppers' Flea jumped in, swirling around and slapping his bass to the song famously covered by his band, it added a raw energy that even Sting seemed unsure how to navigate.

Captivating Covers

The night doubled as a love letter to L.A.'s rich musical history, with artists reinterpreting classics in their own style - from Tate McRae's whispery version of Crowded House's "Don't Dream It's Over" to Jelly Roll's rollicking cover of Bob Seger's "Hollywood Nights," propelled by Travis Barker's roaring drums. But John Mayer's reverent rendition of Tom Petty's "Free Fallin'" was one of the more touching tributes.

Gracie Abrams, daughter of filmmaker J.J. Abrams and Pacific Palisades native, is clearly having her moment in the sun. In addition to her hit "I Love You, I'm Sorry," the 25-year-old soft-voiced singer delivered a breathy version of Counting Crows' "A Long December." As she waved to people and returned an endearing grin to her adoring audience, you couldn't help but wish her continued success.

If you watch only one artist's set, though, make it P!nk's. Accompanied by her stellar guitarist, Justin Derrico, the powerhouse singer unleashed two blazing covers following her slow-building hit "What About Us." She began with Janis Joplin's "Me and Bobby McGee." Despite being an acoustic version while seated, her vocal acrobatics reached to the rafters. And that was just the warmup. Her resplendent take of Led Zeppelin's "Babe I'm Gonna Leave You," now with a full band, was one of those jaw-dropping performances you won't soon forget.

Rockin' Reunions

Like many music festivals or awards shows, FireAid took the occasion to bring old bands back together, but most of the reunions didn't live up to expectations. To start, Stephen Stills and Graham Nash (one half of Crosby, Stills, Nash & Young) did a respectable job on the Nash-penned "Teach Your Children" backed by Dawes, but the performance suffered from noticeable timing issues.

The return of No Doubt - well known as a SoCal band, though more Orange County than L.A. - was a reprise of their 2024 Coachella reunion. Fashion-savvy frontwoman Gwen Stefani looked fabulous as always, and the band bounced through hits "Just A Girl," "Don't Speak" and "Spiderwebs," but the set ultimately lacked depth beyond its high-energy spectacle.

The biggest surprise of the night? A rare regrouping of Nirvana members Dave Grohl, Krist Novoselic, and Pat Smear. Guest vocals rotated between St. Vincent, Sonic Youth's Kim Gordon, Joan Jett, and Violet Grohl, as the Foo Fighters' frontman returned to his drumkit. The band was tight as ever but their signature wall of sound drowned out all the singers, muting what could have been a truly transcendent moment. The stripped-down "All Apologies" - ably handled by Grohl's 18-year-old daughter - fared best, at least for those watching from home.

While not a reunion in the literal sense, Lady Gaga's return to her piano and A Star Is Born songs was a touching way to wrap up the evening. Her crystalline vocals soared on "Shallow" and "Always Remember Us This Way" before she introduced the night's only new song saying, "Time is a healer." Written specifically for this moment and sounding like it belongs in a Disney musical, the hopeful song left the FireAid crowd on a high note as Gaga movingly sang its uplifting refrain: All I need is time to leave it all behind/and keep moving forward.