A few thoughtful changes this year included widening of the promenade and moving around of stages to better accommodate the traffic flow. Brand booths offering games and prizes gathered fans in clusters, while others were stocking up on their FEQ merch before heading to the designated stages. Lilly Queen Mojitos and Coors Lights in hand, they patiently waited for the shows to start, some holding up posters made for their favourite acts.

As usual, a few of the acts were rained out. The festival team tried their best to move things around, but unpredictable storms flooding the streets are a fair cause for cancellation, safety first.

The festival is a 10-day marathon with dozens of artists performing each day across multiple stages. Seeing them all is simply impossible, but for three days our team tries their best to find the most memorable acts. Our festival began with an energetic performance by Mimi Webb. BRIT Award–nominated pop singer-songwriter Webb had a deep frontline of fans who clung on to her every word. “I came all the way from Australia to see you!” a handmade poster stated. That’s a long journey, and we’re here to see it eclipse. The stadium slowly filled as she worked through her repertoire of songs, chatting with the fans. “We’re in Québec!” she shouted, “Guys, I’m actually really loving this show, I haven’t felt like myself for a while, and I’m really feeling it now, thank you!” she shared.

Jessie Reyez came next, and her performance stole the show for the night, if not the entire week. Toronto-local Reyez is well known to this publication; we’ve seen her breakout tour in 2017 and the theatrical performance at RBMF, and are familiar with her oversized t-shirt uniform, but today was different. Today, Reyez stepped out on stage in strappy stilettoes, microshorts, and a croptop, curls in full volume moving with the wind. Today, Reyez was feeling herself, effortlessly dancing around the stage, inspiring all the little girls and let’s be honest, grown women, to embrace their authentic selves. “If you believe in strong women, can you say yaaaa?” she demanded participation from the crowd. A wave of loudly pronounced yaaa’s filled the stadium.

For nearly an hour, Jessie Reyez shared stories between songs, reflecting on her past “bulshit” dating experiences, chatting with the fans, and making an effort to say a few things in French here and there, addressing people all the way at the back of the stadium directly. She wanted the fans to leave the show better than they came in, and this was not a hard ask, the energy in the “room” was electric.

Meanwhile, a lineup of spectacular international acts performed at the free Hydro-Québec Stage. July 17th lineup brought out the biggest crowd we’ve seen on this stage in years with Afro-Futuristic-Punk group Fulu Miziki Kolektiv and African reggae artist Tiken Jah Fakoly headlining.

Loto-Québec and SiriusXM stages, located side-by-side, gathered band and guitar-forward music fans. Colombia’s BALTHVS took the stage for a nearly full hour of psychedelic guitar alt-rock, fueled by Middle Eastern melodies and Latin-tinged rhythms. Royel Otis filled the space with their retro-sounding indie beach rock, with fans singing along to “moody” and “Kool Aid“. Groovy Aardvark took things up a notch, nearly causing a moshpit. The band has been around since 1986, so their fanbase runs deep, and the fans turned up today!

Those looking to dance gathered at the Extras FEQ Stage at The Armoury nightly. With record lines stretching towards the Plains of Abraham, everyone seemed to fit in this intimate venue. Much like previous years, the DJ is centre stage, but this year the room had the addition of a mezzanine level offering fans an elevated view of the busy space.

While Brazilian-born and Toronto-based, DJ BIA started a prolonged conversation on what makes a good DJ on July 16th, the July 18th set by The Rocketman had everyone dancing with no complaints. The big-ticket Extras performance, however, was LP Giobbi, who also performed on the main stage the day after, offering multiple opportunities to see her play. DJ, producer, jazz-trained pianist, and activist, LP Giobbi played two individual pieno-infused house sets, tailored to the crowd and environment.

Dutch DJ and producer Martin Garrix filled the stadium to the brim on July 18th. Even from a distance, it was obvious he was having a great time, sweat drops shining in the stagelights. The fans were here for every beat, taking Garrix’s direction at one moment, the entire stadium had their flashlights on, “This is crazy,” Garrix smiled. During this closing set, we heard all the hit tracks, from “In the Name of Love” to “Carry You” and “Animals“. Nearly every song was accompanied by pyrotechnics – fire, smoke, lasers, confetti, fireworks, you name it, the stage crew did it.

This is the side of Québec City most people don’t get to experience on their faux European vacation, but one you can definitely build a vacation around.

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Here are a few of the folk-country-pop musical highlights:

Nate Smith

If there was one artist who arrived at FEQ ready to tear things up, it was country powerhouse, Nate Smith. Forced to reschedule his appearance last year after losing his voice, Smith made his triumphant return to Québec City with unmatched charisma and high-octane energy. Acknowledging that there’s “something truly special about Québec,” he warmed the crowd up by trying out his French; a casual “ça va?”

Smith didn’t just perform from the stage; he hopped right into the pit, much to the cowboy-hat clad crowds’ delight. Hits like “Whiskey on You” and “Nobody Likes Your Girlfriend” had the entire field shouting every word, while his gritty cover of Luke Combs’ “Beer Never Broke My Heart” inspired the aforementioned “olé, olé, olé” chants from the audience. Showing off his genre-bending sensibilities, Smith threw in a crowd-pleasing rendition of Green Day’s “Boulevard of Broken Dreams” alongside his brand-new track, “Break Up Like That”. A really fun, lighthearted show, where you could feel Smith’s sheer joy from the stage.

Héron

Making their FEQ debut, folk outfit Héron delivered a set that seemed to transmit a “get up and dance” signal throughout the crowd. Although the clouds arrived just in time for their second song, the band brought the light via an energising traditional folk performance that included dancing, collective harmonising, and the weaving of traditional folk music, jigs, and even a bit of tap dancing. Created by singer-songwriter Henri Kinkead, who incidentally hails from Québec City, the Montreal-based group felt a bit like watching old friends perform; genuine and jovial. Swapping between acoustic guitars and soaring violins, the group created rich harmonies and was a lot of fun to watch live – even for someone with shaky French comprehension.

Goldfinger

Rounding out another memorable FEQ night, ska-punk legends Goldfinger proved that age is merely a detail when you have relentless “je ne sais quoi”. With their lead singer sporting a (predictably) sharp suit, the band unleashed a wave of nostalgia that instantly turned the crowd into a swirling, energetic pool. Playing fan favourites like “Counting the Days” and the iconic “Superman,” the group leaned into a whimsical set that was worth a listen.

Gwen Stefani

When Gwen Stefani took over FEQ’s Bell Stage, set up on the historic Plains of Abraham, expectations ran high. Seeing a legend perform was very cool, but for lifelong No Doubt fans, the night was an absolute thrill. The nineties and early 2000s were resurrected.

Onstage, Stefani was magnetic. And, it would be remiss not to mention her iconic wardrobe: a blend of buckles, plaid, fishnet, pink sparkles, and Doc Martens. Backed by an impressive troop of dancers, she proved she still has all the moves, and that her voice retains that unmistakable edge.

The crowd’s energy tipped into a frenzy when Stefani launched into solo mega-hits like “Hollaback Girl,” turning the massive grounds into a giant sing-along party. But an absolute highlight came when she dug into her No Doubt catalogue, delivering renditions of classics like “Ex-Girlfriend” and “Hella Good”.  

Gwen Stefani remains a total powerhouse performer, an artist who commands thousands with seemingly effortless charisma and incredible stage presence. It was truly a delight to watch someone who is undoubtedly still in her prime.  

After a few days spent at FEQ, it could certainly be said that this festival thrives on a mish-mash of artists, whether tap-dancing folk, a country star, or a legendary ska-pop queen. As the festival lights dimmed for another year, attendees walked away having experienced a truly community-oriented event and some pretty stellar musical moments.

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The group eased the room with the opening song “Peace Blossom Boogy,” its swirling colours and drifting visuals immediately shifting the crowd into a collective sway. The lyrics floated freely as the Toronto crowd responded with a rising cheer that hinted at how locked‑in the night would become. The drug-fuelled bounce of “What Is Ashwagandha?” came next, pushing the energy higher, with Angus breaking into loose, joyful dancing that made the room feel even more unified.

A nostalgic jolt arrived with “Monkey Disco,” a reminder of the band’s early charm, before the pulsing low-end of “Waterfall” sent a ripple through the venue. It was at this point that something changed. Fans at Lee’s Palace didn’t just dance, they surged. Bodies moved as one, the floor vibrated with every beat.

That momentum exploded during “Love Forever,” the night’s peak. After the final burst of psychedelic guitars, Babe Rainbow offered a quick farewell and slipped offstage, leaving Toronto glowing in the orange and blue stage lights, feeling freshly alive.

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The city was bustling with foot traffic from a plethora of events happening over the weekend, but only Beyond Wonderland was worth going to. The long march towards the venue was all worth it once welcomed at the colourful gates. The Alice in Wonderland theme is always enjoyable to take part in. The first day was perfect to walk around and get the lay of the land to locate all 4 stages. Across the festival grounds were pop-up art installations surrounding carnival rides, along with actors walking around dressed up as characters from the novel to take photos with. More than a dozen attendees dressed as the Mad Hatter, but not enough dressed as the main character, Alice or the villainous Red Queen. 

Speaking of the Red Queen, the Queen’s Domain stage was the biggest setting fit for royalty. It only made sense that DJ Snake got it rocking with the successful run recently. DJ Snake got the packed crowd hyped by opening with his remix of ISOxo “F**k The Speakers Up”. The loud sirens ignited the fans’ excitement immediately. He kept the party going with his iconic Lil Jon collaboration track, “Turn Down For What,” followed by “Lean On” with Major Lazer. DJ Snake filtered out the chorus vocals of MØ, transitioning into UK drum and bass. He then requested the audience to turn on their phones’ flashlights to light up the scene for throwback tunes “Middle” and “You Know You Like It”. DJ Snake proceeded to turn up the heat with reggaeton jams with Daddy Yankee’s “Gasolina” and his Latin America track “Taki Taki”. 

At the Mad Hatter’s Castle stage, many gathered, eager to see Rebecca Black’s DJ set. The pop singer has come a long way since her “Friday” debut. A light drizzle began to pour during her set, which only awakened the crowd’s enthusiasm for her set even more. She started with “Sugar Water Cyanide” before leaning into more provocative techno and house music with explicit lyrics. She then went for more pop playing hits like Rihanna’s “Rude Boy” and Black Eyed Peas “Fergalicious”. She even played a remix of the iPhone ringtone, telling the crow it was their exes calling. Many were pleasantly surprised by her skills behind the decks, and it was great to see her mastering different elements in music.

The Caterpillar Garden tent is where all the House music fans camped and grooved for the weekend. One of the biggest names of the event was Chicago legend, Green Velvet. The energy in the tent was immaculate as fans waited to welcome Green Velvet back home. Once on stage, he wasted little time getting the mood right with speakers so loud you could feel the bass in your chest and cause your ears to ring.

The atmosphere was on point as actors on stilts danced by interacting with the front row, and a sea of bubbles fell from the ceiling. Green Velvet played unique blends of Pink Floyd’s “The Wall” and Sharam’s “PATT,” a modern mix of Eddie Murphy’s 80’s classic “Party All The Time”. Of course, it was only right for him to play “Percolator” and “Brighter Days,” two tracks that are synonymous with Chicago house music and pretty much the city’s anthem in the summer.

Alan Walker arrived to the Queen’s Domain stage to a huge ovation. The Norwegian DJ made sure to give the devoted audience by playing favourites “The Spectre” with vibrant aesthetics. He hit people in their feelings with “On My Way” and “Alone” before ending his set with the epic track, “Faded”. Fans stayed at the Queens Domain stage and rallied for Tiësto to close out the weekend, who started the set with his newest single, “Don’t Lose Your Head”. From there, he continued mixing trance with heavy bass with beautiful visuals and pyro that left fans in awe.

Beyond Wonderland Chicago is always a fantastic weekend to experience music. Even with past events getting rained out, fans continue to support the festival because we desperately need more EDM events at the beginning of summer. Since bringing the celebration to the Windy City in 2024, the festival has grown as a destination, earning the name of Insomniac’s marquee title.

Insomniac has shown its commitment to continue to expand the event by recently announcing the fest will be moving location to Chicagoland Speedway and will be a 4-day event starting in 2027! This will turn the event into a camping festival, something many have wanted to experience. While the event is a year away, we here at Quip can only imagine how big the folks of Insomniac plan to go with art installations and the lineup for the new location.

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Hailing from London, England, the Nova Twins were featured on our artists to watch list heading into the weekend, and they were absolutely a favourite. The duo represented female empowerment, strength, and undeniable talent. They took the stage with their guitars, distinctive rock-inspired outfits, their drummer, and an energy that commanded the entire space. Their outfits were also self-designed. Their song “Cleopatra” showcased confidence through their vocals, stage presence, and lyrics like “I’m a samurai, warrior, fighter; I’m a boss bitch. I’m Cleopatra”. Closer to the end of their set, the Nova Twins shared, “Thank you for coming to join us and enduring the heat with us. Are you f**king ready?” Other crowd favourites included “Monsters,” and they closed their set with “Glory”.

Left: Faith Nguyen for Vans Warped Tour. Right: Matty Vogel for Vans Warped Tour. Cover image: Brian Rappaport for Vans Warped Tour.

Vana, whose bio on her Instagram reads “pretty metal,” came full force with the sass, confidence, and intensity that title promises. This was her first Vans Warped Tour, and she definitely made an entrance with fans already screaming along to her songs and people crowding the barricade before she even began to perform. Her bright red hair and high energy carried through songs like “Pray,” “BEG!,” “SERPENTINE,” and more. Her laced black rocker outfit matched her charisma throughout the entire set. Not only was she singing, but she also incorporated sharp dance and kick movements that kept the crowd engaged.

HUE performed on the main stage and then gave a second intimate performance at the unplugged stage. They were also winners of the Ernie Ball Battle of the Bands, which earned them the opportunity to perform at Vans Warped Tour. HUE brought DC culture to the festival with rock, go-go, and funk rhythms. After the set, Quip had the chance to catch up with member AЯEJAY on their performance.

Orhun Uygur for Vans Warped Tour.

When asked what it felt like to bring DC culture to Vans Warped Tour, he shared, “It’s awesome. We’re authentically being ourselves, and we’re encouraging other people to authentically be themselves, and everybody’s like authentically being themselves together, enjoying it. That’s why I think it’s cool about our music, and like the DC flair that we have in our songs, like go-go and funk, it just feels good. It encourages everybody to participate.”

The takeaway that HUE wants for listeners is that “I want people to take away from our songs, from our show, from DC culture, the soul, the feel, the swing, the movement, and the swag. Just feel free to be yourself and put your own stank on it. That’s very much the HUE band experience.” 

Gym Class Heroes was another memorable set to witness at Warped Tour. Songs like “Stereo Hearts” and “Cupid’s Chokehold” had the audience singing and swaying along from start to finish. Singer Travie McCoy invited the crowd to join him in a two-step in his set, and the crowd followed his movements. He brought his signature rap voice to the stage, and the crowd gave it right back to him.

3OH!3 by Jamal Eid for Vans Warped Tour

3OH!3 performed on Sunday, and they brought nostalgia, attitude, and energy that was unlike anything else at the festival. If anyone else remembers the iPod era, or even LimeWire, you most likely had a 3OH!3 song on your playlist from their debut album WANT. The whole crowd was screaming along to every lyric and jumping up and down, with endless crowd surfing throughout. Other songs that brought back memories were “My First Kiss,” “STARTSTRUKK,” and their recently viral single “RICHMAN“. They interacted with the crowd with comedic comments and repped Boulder, Colorado, proudly. 

Their creative visuals also deserved a shoutout, in which they changed between a cabin theme, a “Welcome to Ballerado National Park” backdrop, their faces in a twilight setting, and more in true 3OH!3 personality. One of the most memorable moments came when Nathaniel Motte stopped to genuinely thank all the workers who made Vans Warped Tour happen, the backstage crew, and everyone involved. They ended with their famously known “Don’t Trust Me,” incorporating a breakdown section that had the entire crowd dancing and singing along. 

Faith Nguyen for Vans Warped Tour.

Not only was there music, but nonprofit organisations ranging from PETA to Loyal to the Craft and more had booths where attendees could learn more and get involved. There were also artist merch tents with some of the artists present in their tents, meeting and greeting fans. Skate culture is huge within the Vans Warped Tour experience, and aside from the music, festivalgoers could watch performances featuring vert ramps, Nitro Circus, and skaters and BMX riders doing tricks throughout the day.

Vans Warped Tour is a festival that everyone should go to experience in their life. You get a mix of skate culture, rock, emo, punk, and an array of genres and bands to listen to and discover. Also, the nonstop crowd surfing and mosh pits added to the atmosphere. Some of the artists bring nostalgia with songs people have loved since they were younger, and this is also a setting for discovering new artists in the scene. Washington D.C. was a great kickoff to the Vans Warped Tour as it’s headed to Long Beach, CA; Montreal, QC; and more. The Warped Summer is just getting started.

Matty Vogel for Vans Warped Tour.

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Opener “Skyworks” sets the pace immediately. A drum-machine beat propels a DEVO-inspired guitar and glitchy, punching synth line forward, with Allbrook’s vocals carrying a Richard Butler, Psychedelic Furs energy that roots the whole thing firmly in 80s new wave. The track starts skittish and coiled before ripping open around the 1:30 mark, and that’s exactly where I imagine the mosh pits forming. No time is wasted pulling you into the sonic world Pond has built here. “Casuarina” doesn’t let up, charging forward with loose, urgent energy that has a modern-day Wipers feel; heavy, buzzing, and brooding with a riff to kill for.

“Through the Heather” leans into the gothic with a reverb-drenched drum and plucky synth line that calls Sisters of Mercy to mind. Then “Two Hands” arrives as the record’s most overt call to arms; catchy, dancefloor-ready, and communally anthemic. “If your blood pumps and your heart beats / I’ll meet you at the corner of my street / now two hands can make a fist / red mist”. The song, like the record, invites you to be a freak and partake in freakage with your fellow freaks. It’ll sound stellar and at home on big festival stages as well as in the dimly lit, damp backroom pubs of Australia and beyond.

“Roebuck Plains” is less goth and instead more rustic, jangly and Prefab Sprout-y; it’s perhaps the finest track on the record. It made me think of The La’s if they were around in 2026. It’s a refreshing change of pace. “The Fatal Shore” is a slow burner with a Peter Murphy-esque vocal feel, building toward something close to euphoric, while “Tourmaline” features a metallic acoustic guitar and the same propulsive immediacy that runs throughout most of the record.

The title track is where it all peaks. Explosive and gigantic, it’s the moment the album was always building toward. Closer “Nashville (I’m Dying)” is a perfect cap; graceful and cinematic, it has the feel of Pulp at their best as Pond rides out into the sunset with the credits rolling.Terrestrials is Pond at their most focused and, arguably, their most exciting. Long may they haunt the back alleys.

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Friday got off to a strong start with queer favourite King Princess taking the Snapchat Stage in the afternoon. Despite the earlier time slot, fans showed up in full force as she performed a mix of favourites from across her discography, including “PAIN,” “Cheap Queen,” and “Prophet”. The crowd energy proved that an early afternoon set was no obstacle for a dedicated fanbase.

Del Water Gap by @okaynicolita and King Princess by Anna Downs. Cover image: Lorde by Rich Fury. Images courtesy of Governors Ball.

Over on the main stage, Del Water Gap also had a wonderful set on the main stage on the earlier side, but that didn’t stop his fans from jumping and singing along to “Perfume” or “Ode to a Conversation Stuck in Your Throat”. The Dare brought one of the highest-energy performances of the entire festival. Many attendees agreed that seeing him perform in broad daylight felt unusual compared to the dark clubs and underground venues where his music thrives, but he still managed to create an electric atmosphere. Fans were jumping, screaming, and fully immersed during songs like “Eastside Girls” and “I Destroyed Disco”.

KATSEYE by @okaynicolita, image courtesy of Governors Ball.

KATSEYE brought a noticeably younger crowd, with many parents attending alongside their kids, creating a different atmosphere than some of the festival’s other sets. However, the group’s choreography and vocals completely won over the audience. Watching all five members constantly moving, singing, and perfectly coordinating on stage felt almost effortless — a true display of their performance skill.

Baby Keem and Lorde were major highlights of Friday, closing out the night with massive crowds ready to sing along to every favourite track. Fans erupted for tracks like “family ties” and “The Hillbillies,” turning his set into one of the most energetic moments of the day.

Baby Keem by Rich Fury. Image courtesy of Governors Ball.

Lorde by @okaynicolita and Anna Downs. Image courtesy of Governors Ball.

Lorde’s performance was one of the most anticipated sets of the weekend, and she completely lived up to the hype. Taking the stage with her signature emotional intensity, she created a more intimate atmosphere despite performing for one of the festival’s largest crowds. Moving between newer material and fan favourites from throughout her career, Lorde had the entire audience singing along to songs like “Royals,” “Green Light,” and “Ribs”. Her ability to make a massive festival stage feel personal was one of the standout moments of Friday night, closing out the day on a powerful and emotional note.

Saturday proved to be more unpredictable than expected, as weather conditions impacted the evening performances. The day started beautifully, with clear skies, sunshine, and a refreshing breeze keeping festivalgoers comfortable. 2hollis delivered an incredible set, even ending shirtless to the crowd’s excitement. Ravyn Lenae and Wet Leg also gave standout performances. Ravyn Lenae’s vocals were especially impressive as she performed favourites like “Bad Idea” and “Love Me Not,” while Wet Leg had a packed crowd singing along to hits like “Wet Dream” and “mangetout”.

Unfortunately, thunderstorms disrupted the evening schedule, forcing several changes to the lineup. Some artists were moved to earlier time slots, while others were cancelled or rescheduled. Kali Uchis fans experienced the biggest disappointment of the weekend when her entire performance was cancelled due to the incoming storms.

Major Lazer was moved to the Snapchat Stage, while Stray Kids were moved into an earlier slot. Stray Kids quickly became one of the most talked-about performances of the festival. Marking the first time a K-pop group headlined Governors Ball, the group brought one of the most dedicated fanbases of the weekend. Many fans waited throughout the entire day to secure front-row spots, and their commitment paid off with a high-energy performance. Those who stayed until the end also braved the severe summer thunderstorm that hit Queens just minutes after their set concluded.

Sunday brought a return to sunshine and celebration, beginning with Hemlocke Springs, who captivated the crowd with her ethereal vocals and infectious energy. She performed primarily songs from her debut album the apple tree under the sea, ending her set with “be the girl” and a heartfelt message about growth, change, and embracing new chapters in life.

The sunny weather did briefly disappear when a short rain delay affected Slayyyter’s performance, cutting her set about 15 minutes short. Fans were devastated, chanting “Justice for Slayyyter!” even after the performance ended. Thankfully, her team came prepared, throwing out Slayyyter-themed flags that doubled as rain protection for the crowd.

A major highlight of Sunday was Governors Ball successfully rescheduling Blood Orange for a new festival time slot. Jennie also drew an enormous crowd, further highlighting the growing presence of K-pop at the festival. Alongside artists like Stray Kids and KATSEYE, she helped bring a more international feel to this year’s lineup compared to previous years.

The final night was especially meaningful for New Yorkers as Harlem native A$AP Rocky headlined the festival. His performance was a massive production featuring a helicopter, dozens of dancers, and a dramatic SWAT team-inspired visual moment. He closed out the weekend with a hometown celebration that perfectly capped off another successful Governors Ball.

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Entering the venue, concertgoers were welcomed by various food and beverage stands and activations, serving up everything from Aperol Spritz to canned margaritas and international beers in a fun and colourful setting. The Amphitheatre bandshell is extended by a green grass lawn on which many festival goers spread their blankets for a full day hangout. The stage visibility was amplified by three large screens zooming in on the performance and regularly spotlighting the crowd. The audience was as diverse as the lineup, with many fans dancing through entire sets, wearing branded artist merch. 

Holly Humberstone by Respective Collective, Serena Yang. Image courtesy of All Things Go.

On Saturday afternoon, the audience was treated to a handful of performances ahead of Kesha’s headlining set. English singer and songwriter Holly Humberstone brought her flavour of guitar pop music to the stage. Dressed in what felt like a white tutu, Humberstone gleefully worked through her latest record, Cruel World, to a cheering crowd. Her performance was followed by another English singer-songwriter, Rachel Chinouriri, who got even more people up on their feet and surely plenty of new listeners on her music streams. 

Accompanied on stage by a drummer and a guitarist, Chinouriri ran out on stage with explosive energy. Her stage presence is engaging and captivating, enhanced with candid stories about her work, like the latest album being a “trauma dump” from past relationships. Chinouriri’s set was a mix of songs from her debut studio album, What A Devastating Turn Of Events, and in-between singles like “I’m Not Perfect (But I’m Trying)” and “What A Life”. 

Rachel Chinouriri by Respective Collective, Serena Yang. Image courtesy of All Things Go.

Sunday afternoon kicked off with bright sunshine, welcomed the girls with flower clips and electric tape tube tops, along with dads in Hawaiian shirts and sun hats, to the Amphitheatre grounds. Canada’s Jade LeMac, a self-taught piano and guitar player, was a vocal highlight for the day. Her subtly gentle set was followed by an energetic performance by Del Water Gap (aka Samuel Holden Jaffe). After a brief instrumental opening, Samuel Holden Jaffe stormed out on stage in jeans and a blazer with blacked-out eyes. A true indie-pop heartthrob, Del Water Gap had both men and women dancing and singing along to their entire set. Jaffe engaged the crowd on multiple occasions, expressing his gratitude to the attendees and prompting them to play along. 

Jade LeMac by Respective Collective, Serena Yang. Image courtesy of All Things Go.

The biggest highlight of the weekend was a highly anticipated performance by the Isle of Wight’s English indie rock band Wet Leg. Founded in 2019 by Rhian Teasdale (vocals, guitar) and Hester Chambers (guitar) the band also includes Josh Mobaraki (guitar, keyboards), Ellis Durand (bass), and Henry Holmes (drums). Rhian Teasdale, dressed in a petite signature outfit, took front stage, diving into the set from the deep end with “catch these fists”. The crowd stood up and stayed up for the rest of the night. The set, one-by-one, went through the songs on the moisturizer, most of which a healthy portion of the attendees knew the lyrics to by heart. The set was really only interrupted to point out the shirtless superfine – a “bunch of dudes” – with “WET LEG” painted across their torsos, who were more than happy to be in the spotlight on the big screen. 

Wet Leg by Respective Collective, Serena Yang. Image courtesy of All Things Go.

Lorde’s closing set was a performance of all kinds. The stage had multiple moving parts, shapeshifting into objects and glass boxes. This was Lorde’s second appearance at All Things Go, so she knew exactly what hype this fan base would bring and brought her whole self to the stage. Her set included all-time favourites like “Royals,” “Ribs,” “Buzzcut Season,” and a wealth of songs from her latest album, Virgin. “This is my second All Things Go! I’m trying to catch them all. It’s a Pokémon situation for me. This is, without a doubt, the coolest festival in North America,” Lorde shared.

Lorde by Respective Collective, Serena Yang. Image courtesy of All Things Go.

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Each song asks a new question of the musicians and challenges them to bring something as of yet unheard to the record. Loïc Calatayud-Sola’s voice changes song to song and sometimes even the language he’s singing in shifts from English to French and back again. His falsetto lends a ton of bounce to the earlier songs on the track list and gives the impression that the album will be upbeat and dancey, but when he switches down to his lower tenor, the music drops in tempo as well. The synths in the more high-energy first half of the album create incredible sonic landscapes for the rest of the band to play in. Again leaning towards the first five or so songs on the album, the bass lines are funky, full-bodied, and they offer the percussionist a higher ranged selection of instruments to bang and hit. Likewise, the guitar riffs, with accompanying face-melting effects, rock the A side of the LP. 

You know that feeling when you’re looking out the window of some piece of public transit. And the window is stained purple from the ink of the night. And you stare so hard into the darkness, so you don’t accidentally just stare at your reflection in the window. That moment is better suited for a needle drop from the latter half of Something Out of Nothing. The final five songs on the album carry over some of the strength of the first half, but instead of centring their sound around the funk of their rhythm section and the soundscapes of their synths, they centre the music around an acoustic guitar and Loïc’s voice. At times Loïc soars, carrying the song with his voice alone. In “Quand vient le soir” he does his best Bryan Ferry impression to fantastic results. 

The weakness of the album comes in its fragmentation. The two halves of the album feel so distinct from each other that they seem like they could each have had their own TLC and then each become an album of their own. Despite the polarised track-list, the album is musically strong and stands tall as an example of the talent and range these musicians have. Looking towards their next album, I am excited to hear the cohesion that comes with shared history. Bye Parula have shown that they are seriously talented, even if their vision isn’t totally in focus yet.  

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This year, a must-attend event was sponsored by Warner Music, who took over the iconic La Casa Del Pueblo Supermarket in the Pilsen neighbourhood. Turning the grocery store into an exclusive club was a trip to witness. Walking through the entrance, you saw every Latin flag represented. A DJ booth was set up in the produce section, spinning classic hip-hop and reggaeton, food served over the carneceria counter, and drinks and photo booths spread throughout the store. It was a great space to connect with other creatives and brainstorm collaboration ideas. 

Excitement was at an all-time high on Day 1 as the weather finally allowed summer attire. Devastating storms interrupted the festival in the past, so we all watched the forecast vigilantly. Luckily, Danny Ocean was on stage to provide the good vibes with “Me Rehúso”. The Venezuelan singer performed a few tracks from his Babylon Club album, such as “Vitamina” and “AyMami”. He even surprised the audience by doing a brief cover of Maná’s “Oye Mi Amor”.

Clouds took over the city skyline, causing a hazy fog, which was the perfect backdrop for Kali Uchis, who arrived on stage in a white carriage. Her backup dancers waved white feathered fans add to her angelic elegance. Kali’s aura was on point, melting our hearts with “Moonlight”. She made sure to play plenty of tunes, getting the crowd twisting their bodies to “Labios Mordidos” and “Sad Girlz Luv Money”. Kali hit the nostalgic emotions when she performed the deep cut “Loner” before singing her breakthrough collaboration tracks with Tyler the Creator, “After the Storm” and “See You Again”. It was only right for Kali Uchis to end her magical set with “Telepatía”.

J Balvin had closing duties for Day 1, and he has more than enough tracks to carry the excitement to the end. The Colombian singer is one of the biggest artists in the world, and his performance was a good reminder of why. He opened with tracks from Colores, and all the pyro and backup dancers added to the atmosphere of his superstardom. This set was a reminder of the many ways J Balvin has left his mark on the genre, including his many collaborative tracks with artists Cardi B, Bad Bunny, Ryan Castro and DJ Snake. J Balvin rounded things up with some of his first big hits like “Ay Vamos,” “Mi Gente,” and “In Da Getto”.

Day 2 carried through with the same energy, fans exploring the different stages and photo pop-up opportunities. One key component organisers have done to facilitate a better flow of traffic is introducing 2 smaller stages, allowing DJ’s to keep the party going. One DJ everyone was hyped to see was Deorro at the La Fuente Stage. The Mexican-American DJ has had success in the States for his ability to give his audiences the right blend of Latino dance tracks with modern American pop music. His most famous track, “5 More Hours”, for example, is done in collaboration with Chris Brown. He even brought out the iconic Mexican Norteño band Los Tucanes de Tijuana for their song “Yo Las Pongo,” which is a unique mix of old school traditional Mexican style with new age electronic.

Speaking of Los Tucanes de Tijuana, they performed an outstanding set at the main stage to a beautiful ovation. Being around since the 1980’s, many of us grew up listening to Los Tucanes de Tijuana from our parents. It was wonderful seeing them arrive and getting the love they deserve. Songs like “El Centenario” remind us of family parties with our uncles blasting the tune on broken speakers at full volume. Nothing was more fantastic than seeing thousands of people dancing to the Mexican favourite, “La Chona”.

Sueños Music Festival continued to respect Latin music legends by showcasing Reggaeton pioneer Yandel. Since the duo of Winsin Y Yandel decided to go their separate ways, Yandel has continued to tour to promote his solo albums with an orchestra. Led by conductor Javier Jose Mendoza, the orchestra adds another layer to Yandel’s classic tracks while showing he still has plenty of new music to share. Haunting violins opened for “Puño De Tito,” with Yandel matching the intensity with his flurry of verses. Songs like “Teléfono,” “Rakata,” and “Pam Pam Medley” were given new life with the background ensemble while keeping the archetypal bass and drums Reggaeton is known for, allowing Yandel to evolve even after all these years.

Finally, the festival wrapped up with Fuerza Regida. The Mexican American band had the crowd excited with one last big hoorah, but it wasn’t without its issues. Immediately, it seemed lead singer Jesus Ortiz Paz struggled with his microphone for the opening of “Marlboro Rojo”. They were able to recover by bringing out artist Chuyin for “Pues Ya Ni Pedo,” which the ladies screamed when the shirts came off. Ortiz had another mishap when he fell on his ribs at the beginning of “Excesos,” but the fans picked up the lyrics while he regrouped himself. Overall was a small blight on solid performance as they finished with “Cuando No Era Cantante”. 

Sueños Music Festival is the Latino music festival to attend every year. It is truly inspiring to see how this festival has grown since its inception just a few years ago into what it is today. In its 5-year span, it has brought together the community not only in Chicago but throughout the country. Meeting people from out of state, excited to not only experience what the city has to offer, but what Sueños Festival has come to represent, is fantastic. We here at Quip Magazine are grateful to have been there since the beginning. Here’s hoping for another 5 years! 

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Seeing Faker perform in a smaller venue like this was a surprise; returning to the Danforth Music Hall would’ve been much more fitting, quite literally, but Chet and his team of two made the best of this fish tin setup. On this new album, Faker “ruminates on heartbreak and uncertainty on a grand scale,” which feels a lot like his earlier work. The work that many people in this room had an emotional connection to. Myself incldued.

The show felt introspective, like a tribute to his own journey. Or perhaps to us, the fans, all of the Millennials revelling in nostalgia. The set, surprisingly at first, started with nostalgia, diving right into “No Diggity” and “Drop the Game” – the fans get what they want, no need to wait for the encore. And then came “Over You” as the sample of the new, seamlessly blending in with the old. For the next nighty-plus minutes, he played through the better half of his collection. We heard “Gold” and “Talk is Cheap,” we heard “1000 Ways” and “Remember Me,” and everything in between.

Chet Faker’s 2026 tour is a return tour, like a class reunion, or a comfortable cardigan in the time when we all keep saying “wow, what a time to be alive”. An escape album is a good album to have on hand now. A few replays of A Love For Strangers are in the queue.

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