The festival itself struggled to outstep the volatility, beset by weather delays (opening their Saturday gates 3 hours late due to a flood watch), missing equipment (RIP to the Neighborhood’s drum kit and Geese’s guitars) and malfunctioning equipment that affected headliners (The Smashing Pumpkins) and daytime artists (an indefatigable Amber Mark) alike. 

Still, Lollapalooza is more than the sum of its parts. It’s a four-day journey of endurance, musical surprises, and befriending strangers as you’re packed tighter than the subway to catch sight of your favourite musical guest. With over eight stages, there’s more music than any one person can cover, so please accept our apologies for missing your favourites. From what we saw, here were ours. 

Blood Orange’s tender groove 

Fuzzy white static came over the projector screen of the Bud Light stage as Dev Hynes, the mastermind behind the British group Blood Orange, began his Thursday afternoon set, murmuring the words “I wanna see you” to a fresh-legged and eager audience. 

Somewhere between art rock, R&B, and experimental jazz, Blood Orange is a project unbound by genre, inhabiting a unique pocket of sound all its own. The songs are filled with tremolo and Wurlitzer, percussive bass lines, and a steadfast rhythm like a slightly elevated heartbeat. Three vocalists swap lead on tracks that both comfort and churn with emotion. 

Hynes, a true multi-instrumentalist in a festival whose artists often rely on tracking, glides effortlessly between keys, synth and guitar, while soulfully crooning over each track. Four songs in, he switched over to cello to cover Bjork’s “All is Full of Love”. Truly transcendent, it lifted the audience into an almost churchlike intoxication. “You’ll be given love,” he intones, “maybe not from the sources you’ve poured yours”. There’s a paean-like quality that runs through the music, a glow of gratitude and warmth that pulses through even the most melancholic of lyrics. 

The band closed their set with “Champagne Coast,” a song that took over TikTok well over ten years after its initial release. Heavy synth glides over the air, punctuated by the deep chime of bells. “Come into my bedroom,” Hynes invites warmly, in a song that offers tenderness and thoughtful devotion. 

Little Simz stands on business 

Thursday was a day for the UK. Little Simz, the British actor and rapper, dressed in a navy blue, ankle-length thobe, took full advantage of the crowd before her. “This is my first time here,” the 32-year-old shouted, “so we’re gonna have some fun”. Less than halfway through her first track, Simz had the crowd jumping and singing like freshly made acolytes.

Simz is her own hypeman, effortlessly commanding her audience to join her in jubilation as she skips across the stage like a kid on the playground. Her lyricism and flow are virtuosic in live performance, blending the genre’s signature self-aggrandisement with lines that somehow maintain a unique wit and self-awareness. 

Her music plays on nostalgia without centring its references, sampling hitmakers like D’Angelo and Outkast with a subtlety that draws the ear in with familiarity before spitting a fresh verse line that transforms the nostalgia into something brand new. 

Halfway through the set, her three-piece, leather-clad band exited the stage and a DJ booth was rolled on. Without a moment’s lag, she began spinning while leading the crowd in a tight call-and-response, followed by what felt like ten minutes of bodies launching themselves into the air. 

“Do you guys have energy or what?” she boomed over the mic as the crowd regained the ground between songs. “I was told Chicago knows how to party. I don’t know if I believe them,” she goaded. The crowd gleefully took up the challenge. 

CMAT and her very sexy CMAT band 

Direct from Ireland, CMAT’s sexy-ass six-piece band shimmied onto the Grove stage covered by the park’s natural canopy of shade. CMAT is far from a household name, yet her recent album EURO-COUNTRY is making a big splash from across the pond, landing her an opening spot for superstar Olivia Rodrigo’s recent tour and bringing her to many a festival across the world.

From the set’s first number, you can immediately see her allure. It’s an anarchic, uncompromising authenticity that most pop stars can’t afford to access because of their fame. She saunters on to the stage wearing a muted pink and purple paisley head scarf, big amber sunglasses, and plaid tights that would feel at home in a Grey Garden’s satire.

The band rolls right into the chaos of “Jamie Oliver Petrol Station,” a brazen song that vibrates with love and rage for a world that feels like it’s eating itself in front of you. The lyrics are acerbic and hyper-specific, as CMAT playfully acknowledges, remarking that “this song is making no sense to the average listener.” 

CMAT’s sound careens between pop and country in a way that feels uniquely Irish, infused with a healthy dose of fiddle and pedal steel guitar. The energy of the show is one of pageantry and playfulness even as it makes space for head-to-the-sky catharsis in numbers like “When A Good Man Cries”. 

For someone who hasn’t quite broken through to the mainstream, CMAT knows how to keep her audience’s ear and eye. She is campy, charismatic, funny as hell, with a voice and lyricism that are a full course in and of themselves. 

Slayyyter came here to party 

You would be forgiven for not knowing who Slayyyter was, given what seems like an overnight rise to fame. On Friday afternoon, a light rain misted down onto Grant Park, as a white vinyl trailer stood center of the Bud Light stage. As the gentle tick of drums from her viral song “DANCE…” settled into the air, Slayyyter opened the trailer door to gaze out at 50,000 people. 

She strutted onto the stage with a bedazzled Bass Pro hat, a flannel button-down cropped around a beige bustier, and Daisy Dukes sporting a line of fish tackles. “Chicago!” she shouts in greeting to what was likely the largest daytime audience of the whole weekend. 

“DANCE…” is both an obvious and dangerous choice to begin her set. Achieving virality through TikTok and Reels, it’s a hook you’ve heard even if you don’t know to whom it belongs. 

I was nervous as the song came to a close, won over by its undeniable catchiness and Slayyyter’s unflagging confidence. I wondered if she could maintain the energy beyond her viral hit. 

A sea of cell phones fell to the side, satiated with a usable social media post. And that’s when the party really began. Slayyyter’s music simply refused to let up. From CANNIBALISM to OLD TECHNOLOGY, it tapped into a booming, trancelike drone that hacks into your legs and makes you want to get down. While Slayyyter feels like a pastiche of many a pop superstar before her, what she offers feels truly feral. It’s hyperpop that lives on the edge of breakage, her voice blaring almost beyond the speaker’s capacity to hold it. It’s sex and rage and club delivered with nonchalant confidence. 

As I watched the set from beyond the 100-yard line, I could still feel the undeniable devotion of her die yards, broadcast on the screen, lip syncing every lyric, thrashing like the possessed. That devotion translated itself backwards to the far reaches of the enormous crowd. Slayyyter came here to party, and even after her set ended, it felt like that party had only just begun.

Running wild & free with Wolf Alice 

An orchestral drone surged out over the Lolla’s grounds, freshly transformed into a soggy marshland by a steady night rain. As the festival goers sank into the moist earth, sonic waves, dissonant and enveloping, cut through the mist. A grungy, leather-clad Wolf Alice had taken over the stage.

Saturday in Chicago was met with flood warnings, which pushed back the festival gates’ opening by three hours, cancelling and truncating the sets of almost every artist on the day’s lineup. Wolf Alice was no exception, their scheduled hour-long set slashed in half. As their show finally began, the band wasted no time capturing its audience’s attention. 

At the centre of Wolf Alice’s staying power as a band that’s managed relevance in a diminishing rock scene is their innovative sense of groove and lead singer Ellie Roswell’s towering vocals. Roswell’s voice swings freely between lush expression, steady rock belt, and a searing upper register that cuts through the air like a supersonic jet. 

“The last time we played here was 10 years ago. We were literally thirteen years old,” she exaggerated after finishing their first number, “Bloom Baby Bloom”. The song is a tender yet forceful banishment of self-insecurities, built around a propulsive piano hook.

Their songs don’t follow traditional structure. They glide and soar and go where they need to. Like the best kind of music, it carries something nostalgic into fresh, alien territory. Their latest single “The Sofa” fuses chamber pop with psychedelic folk into a soaring anthem. It reflects an undecided mind held gently with newfound self-acceptance. “I hope I can accept the wild thing in me,” Roswell sings, “hope nobody comes to tame her and she can be free.” 

Only moments later, Roswell is behind a megaphone, screaming into the audience, “I’m not a fool, but I have a rage, and it’s blinding”. All softness is gone, as the band thrashes through “Yuk Foo” and “Play the Greatest Hits,” Roswell’s lipstick smeared across her face, a wild thing running free.

A mudbath with Geese 

Is Geese a psyop? An industry plant? Or a bunch of talented Brooklynites hell-bent on taking the piss every chance they get? Who knows. Still, it’s hard not to appreciate a band that seems to have captured the generational ennui of Gen-Z, with its opaque yet piercing lyricism, sludge guitar intermixed with cadenced melody, and relentlessly savage drumming. 

Geese gives off the impression of jazz. Much of their set feels like it’s improvised, even inside of the singles that have shot the band into fame. “Now we’re gonna play our hit song,” singer Cameron Winter says in his reliably deadpan delivery. What’s admirable about the band is how unmarried to their own recordings they are. It allows the songs room to surprise their audience (and maybe even the band themselves). As a result, the music feels fresher than a daisy sprouting up through mud. 

And there was a lot of mud! The field in front of the Allianz stage was pockmarked with gluttonous pits of wet dirt that even the most spatially aware person would have trouble not slipping into. Pity the fool who wore white shoes to Lollapalooza. 

Yet Max Bassin’s almost militant sense of rhythm got people sloshing around with abandon. The dancing it evokes feels earnest, which is a strange response to a band that seems to defer any sense of seriousness. Yet the band’s lyricism manages to tap into the vein of disenchantment with the American dream. “If you want me to pay my taxes,” Winter intones to a crowd swaying and shouting back like congregants, “you better come over with a crucifix”. 

The set closed with “Trinidad,” a bewilderingly brutal track off their latest album Getting Killed.  Saved for last, the track plays like a bomb waiting to go off; the crowd holds its breath waiting for the explosion. “There’s a bomb in my car,” Winter screams over a guitar that sounds like a car’s engine squealing to gain traction. The crowd threw their bodies around in the muck, singing back the paranoia with a playful rage. 

Adéla takes us to the barre 

Sunday at Lollapalooza was for the pop girlies. Ushered in by Saturday night’s astoundingly cinematic set from pop god Charli XCX, the final day of the festival seemed curated for the girls, gays, and theys. Wearing hot pink stilettos to match her razor-straight hair of the same colour, Slovakian superstar Adéla, took the stage with a troupe of dancers, stomping the ground until the noise ballooned into a thunderous track. 

Adéla’s music feels like hyperpop with a fresh infusion from her K-pop colleagues. It’s bratty bubblegum with a sharp edge that retains its flavour for a full set, but doesn’t hold much in terms of sonic surprise for the genre. The music seems laser-focused on a self-empowerment that’s rarely tempered with even a note of self-doubt. 

And that’s just fine, especially for a performer like Adéla, who brings something special to the table as a trained ballerina. “I just wanna go,” she belts out, “hair stuck to my face, I put on a show”. She does exactly that, thrashing about on stage in her stilettos and revving the audience up before making a surprise exit that leaves her dancers front and centre. 

A hot pink ballet barre pens in the stage. The dance troupe makes full use of it, swirling and flexing over the barre to create a routine that morphs between ballet and modern, creating a pulsing mural of bodies. 

Adéla reenters in pointe shoes, grande jete’ing across the stage like a leaping deer. As the set continues, Adéla bends over backwards (literally) to give her audience something they’ve never seen before. “Steady on it,” the electroclash track blares, as Adéla showcases the precision of a ballerina with a devil-may-care popstar alter ego. It felt impossible to look away. 

* * *

And that’s a wrap! Thank you to Lollapalooza and the hordes of fans who got down and dirty with us in the sun, the rain, and the mud. We’ll see you again in 2027. 

The post Lollapalooza 2026 Recap: Best Sets from Blood Orange, Little Simz, CMAT, Wolf Alice & More appeared first on Quip Magazine.

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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Headline additions

Among the newly announced international acts, London’s Heartworms stands out, riding high on the acclaim for their 2025 debut album Glutton For Punishment, which earned five-star reviews from NME and DIY Magazine. Fellow Londoners The Itch make their Icelandic debut on the back of a packed run of UK basement shows, while neo-soul veteran Jamie Woon brings his acclaimed back catalogue to Reykjavík.

Icelandic talent at the core

As always, homegrown artists are central to the lineup. RAKEL, winner of the 2025 Iceland Airwaves PLUS Award, returns to the festival after a year of international showcases in New York and Wales. Electro-pop project SCAM, from composers Herdís Stefánsdóttir and Salka Valsdóttir, and Andervel, the folk-leaning project of Mexico-born, Iceland-based artist José Luis Anderson, also feature among the local highlights.

Beyond the stage

The festival extends well beyond its showcase performances. Special events at Reykjavík’s waterfront concert hall Harpa will feature Shygirl, The Streets, and Daði Freyr with the Iceland Symphony Orchestra. A two-day industry conference on 5th and 6th November will tackle topics including human curation in the age of algorithms and how smaller music markets continue to produce outsized global talent.

SCAM will also preview the festival at a Taste of Iceland showcase in New York on 1st October, at Pianos on the Lower East Side.

Early bird tickets start from 10,900 ISK (approximately £65 / $87), with travel packages available. Learn more and purchase tickets at icelandairwaves.is. Get the festival playlist on Spotify.

Pre-festival events lineup:

4th November: Shygirl at Silfurberg, Harpa – tickets
5th November: Daði Freyr & The Iceland Symphony Orchestra at Eldborg, Harpa – tickets
8th November: The Streets at Eldborg, Harpa – tickets

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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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Following his secret performance at FME last year, singer-songwriter Vincent Roberge, a.k.a. Les Louanges, headlines the Thursday lineup. Building on the success of his third album Alouette!, he brings his modern blend of funk and soul, wrapped in refined pop production. This evening, the main stage will also welcome Bon Enfant, Malaimé Soleil, and Birds of Prrrey.

Friday evening is dedicated to rhythmic verses, with the festival presenting Koriass, a true pillar of Quebec rap who has been accumulating accolades for two decades now. Ahead of this headlining performance fans will also have an opportunity to see sets by Kamilou and Aswell.

Saturday’s lineup kicks off at 7PM with the Nouvelles Ondes SiriusXM competition finale featuring three artists deemed to best represent the next generation of francophone singer-songwriters. Hawa B, an artist who defies labels, opens the evening with a performance that creates a space where you can twerk or headbang, laugh or cry, all in the same breath. N Nao, Grand Eugène, and Lou-Adriane Cassidy will also be performing this evening.

As a bonus, the FME presents a series of concerts under the stars taking place at Scène Fizz (also located on 7e Rue). From Thursday to Saturday, we are treated to: new Arbutus signing Public Appeal, who recently showcased more of their avant-garde pop on new full-length hello my name is public appeal; Jashim, a key figure in Montreal’s underground Latin scene, with Cult MTL describing their music as “2000s sun-soaked rhythms [that] meets hyper-pop”; and Aizysse Baga, an artist from the 2SLGBTQIA+ community whose electro-pop and alternative universe combines stage performance, flamboyant aesthetics, and socially conscious lyrics.

Learn more and buy passes at fmeat.org/en.

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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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