Festivals
Pukkelpop 2026: Three Days of Madness at Festivalpark Kiewit
Version française plus bas après les photos.
Pukkelpop, one of Belgium’s biggest festivals, took place from August 19 to 23, 2026 at Festivalpark Kiewit, in Hasselt. We were there for three days, from Friday to Sunday. With such a packed lineup, there was no way to catch everything — inevitably, some hard choices had to be made. Here’s how it went!
DAY 1
For this edition, the lineup was particularly dense, spanning pop, rock and punk. From this very first day, the programming kicked off strong.
We start off gently with Dutch singer Roxy Dekker on the Main Stage. At just 21, the Amsterdam native made a name for herself on TikTok before turning every single into a national hit — from “Sugardaddy” to “Gaan we weg?” with Ronnie Flex — up to her debut album Mama I Made It. Her dance-pop delivers instant joy and brings everyone together.
Next up, we head to the Club stage for Camille Yembe, a Belgian singer-songwriter born in Molenbeek to a Congolese father and a Belgian mother. Revealed by the track “Plastique,” praised at the time by Stromae, she presents her debut album Jeune & Laide, released in May 2026. A bold record that tells, without filter, a battered youth caught between precarity and rebuilding, blending pop, rap and French chanson.
Then it’s Alessi Rose‘s turn on the Wave stage. A rising English pop star from Derby, spotted by Dua Lipa herself, who brought her along for the entire European leg of her Radical Optimism Tour, before Alessi joined Tate McRae on her Miss Possessive Tour. A pop star in the making — one to watch closely!
Speaking of pop princesses, there’s no missing the stunning Becky Hill on the Main Stage. A key figure of British dance pop, a complete artist and true performer, she’s set to unveil a brand new album, Rebecca, this fall.
Last-minute change: Lous and the Yakuza is replaced by Royal Blood. A lovely surprise. We rush over to the Marquee stage, where the Brighton duo — just a distorted bass and a drum kit — deliver a genuine stage revelation, heavy and energetic rock.
At the same time, it’s hard to resist a detour for Nxdia. Born in Egypt and raised in Manchester, the 25-year-old artist doesn’t play by any rules: she blends genres without hesitation and carries a stage identity all her own, somewhere between punk energy and pop melody. We’d already spotted her last year at Bludfest, the festival organized by Yungblud, where she made a strong impression.
Next up is Major Lazer, the electro-dancehall project born in Diplo‘s head, a hit-making machine (“Lean On,” “Cold Water”), perfect for setting the mood.
At 6:35pm, it’s time to head to the Marquee stage for the sublime Kelis, a 2000s R&B icon and the voice behind the unstoppable track “Milkshake.”
Then comes the unmissable Djo. We mostly remember Joe Keery for his breakout role in Stranger Things, but his music career is a genuine success story: his latest album is a real gem, and he even made an appearance in Tame Impala’s Loser music video. There’s no skipping “End of Beginning,” his single that went viral.
Next up is Geese, a New York band carved out of raw Brooklyn rock energy, followed by Turnstile on the Main Stage as night falls: the show is completely wild, the crowd unleashed, the singer a true performer.
The night is far from over — still riding that rock energy, we head back to the Marquee stage for the Hives. This Swedish band, completely out of their minds, matching suits for over twenty years running, is just as iconic for their stage presence as for their sense of spectacle; the singer jumps around everywhere, it’s incredible.
Finally, to close out the day in style: Yungblud headlines, three years after his last Pukkelpop appearance. The true rock revelation of the year, without a doubt. This show will go down in history: with an injured, casted leg, he didn’t cancel a thing — the final date of his Idols the Tour — there was no way he’d disappoint his fans.
He arrives on stage in a wheelchair, flanked by two nurses, a huge smile on his face, and launches into the iconic single “Hello Heaven.” The show is wild: despite the cast, he gives it everything, holds nothing back, and even crowd-surfs in his wheelchair during “Fleabag,” right in the middle of the crowd!
Pukkelpop‘s greatest strength is that it never locks itself into a single style: pop, rock, punk, electro, hip-hop… the stages talk to each other and contradict each other, each with its own identity. You can go from one world to another in just a few minutes’ walk.
The festival has also thought about those who need a break, with real spaces to sit down between sets, away from the crowds. Food-wise, there’s plenty of variety, with something to satisfy every craving and every diet.
And above all, despite its impressive size, Pukkelpop remains surprisingly easy to navigate: you can move freely from one stage to another, and the festival has set up a genuine accessibility platform for people with reduced mobility — proof that an event of this scale can still be welcoming to everyone.
DAY 2
For this second day, we take our time: exploring the festival grounds, the various stalls and activities, making the most of everything Pukkelpop has to offer beyond the stages.
We head to the Marquee stage for Selah Sue and The Gallands. The project brings together Belgian icon Sanne Putseys, aka Selah Sue, and the father-son duo Stéphane and Elvin Galland, blending jazz, soul and electronic music — their album Movin’ is living proof. On stage, she stands out for her voice, her style, and above all her infectious good mood.
Next, we catch Wet Leg, the British band from the Isle of Wight fronted by Rhian Teasdale and Hester Chambers, who broke through with the tongue-in-cheek hit “Chaise Longue” and won a Grammy with their very first album. The duo keeps climbing and will actually be opening for Tame Impala this fall!
Then the evening moves into rock territory: Wunderhorse, led by the electric Jacob Slater, delivers raw, unfiltered rock; next up is Deftones, a California alt-rock institution, an absolute reference since White Pony.
Finally, the sheer wild energy of Amyl and the Sniffers, fronted by an Amy Taylor as electric as ever on stage.
We did take a nostalgic break for Natasha Bedingfield‘s set, back with her 2000s pop anthems.
Day two wraps up with the magnificent Florence and the Machine, who swept everything before them: Florence Welch and her haunting voice, somewhere between grace and raw intensity, deliver one of the festival’s standout moments.
DAY 3
For this final day, it’s a lineup packed with big names, spanning pop, indie and hip-hop, with, as it should be, a healthy dose of glitter and sparkle.
We start the day gently with the melancholic pop of Belgian artist Iskander Moon. This 25 year-old multi-instrumentalist and producer from Ghent first trained in classical piano before earning a master’s degree in music production. He delivers a warm, delicate pop-folk sound.
A change of pace with MILOALLTHELUKKEN. This young Dutch rapper, real name Milo van den Bos, started out in 2019 as part of the duo Baby Boys before going solo in 2024 with the single “Huh.” Since then, the singles have kept coming (Baddie, Ff Kappe Nou), and above all the number one hit “Lijntje,” which quickly propelled him to the front of the Dutch rap scene.
Then comes Adéla, and her set will remain one of the day’s highlights: the Slovak singer already has a genuinely impressive fanbase for such a young artist.
The crowd came dressed for the occasion, some in pink outfits — others even got lucky enough to walk away with the merch t-shirt, printed with “the bad bitches are in Belgium.”
Discovered on the competition show The Debut: Dream Academy, which also produced the hit K- pop group KATSEYE, Adéla didn’t make the final girl group lineup. But that wasn’t about to stop her. In just a few months, she’s carved out her own path and delivered a genuine show. Tightly choreographed routines blending classical dance, hip-hop and heels — she can do it all. She’s a true star, and her rise is only just beginning.
On the Main Stage, it’s S10‘s turn. Dutch artist Stien den Hollander already made a name for herself in 2022 representing the Netherlands at Eurovision with her track “De diepte,” the first Dutch- language entry sent to the contest since 2010. The show is full of energy, blending alternative pop and rap — she carries the whole crowd with her.
Next up, Bazart, a band from Ghent formed in 2012. Regulars on Belgium’s biggest stages, they deliver Dutch-language indie pop. And singer Mathieu Terryn’s smile is so infectious. A true showman.
Then it’s Denzel Curry‘s turn. True to form, he’s a live wire on stage. A must-see show for hip hop fans.
The much-anticipated Zara Larsson then took to the main stage to present her Midnight Sun Tour.
And she flat-out created a phenomenon: for the final song, the crowd paid tribute to her by recreating her signature pose from the “Midnight Sun” music video, sending the Swedish star into a fit of laughter mid-show — a moment that instantly went viral online. Zara Larsson is all good vibes and dance moves, but above all, iconic moments — like during “Lush Life,” when a young mom came up to dance the choreography alongside her.
Sombr also left a mark: arriving on stage in a stunning silver outfit, alongside Adéla, in a convertible, the 19-year-old American is this year’s breakout alt-pop star. He performs his debut album, I Barely Know Her, a genuine hit, carried by the viral track “Back to Friends.” We also get to hear his brand new single live for the first time, “My Body Isn’t Ready,” a touching track that addresses body image with real honesty.
Back to guitar riffs with Parcels, whose iconic funk-disco sound — the band, from Australia, is based between Berlin and Paris — turns the stage into a full-on dancefloor.
And to close out this final day in style: Tyler, The Creator. No flames this time, due to climate restrictions, but a completely wild show all the same. Running through one classic after another, the American — fresh off his latest album Don’t Tap the Glass — had the crowd completely hyped, a performer in a league of his own.
Check out our favorite photos of the festival below or head to our Facebook page for the full galleries of Day 1, Day 2, and Day 3!
All Photo Credit: Jade Ekpob
Pukkelpop 2026 : trois jours de folie au Festivalpark Kiewit
Le festival Pukkelpop, un des plus grands festivals de Belgique, s’est tenu du 19 au 23 août 2026 au Festivalpark Kiewit, à Hasselt. On y était trois jours, du vendredi au dimanche. Avec une affiche aussi dense, impossible de tout voir : forcément, il a fallu faire des choix, On vous raconte !
JOUR 1
Pour cette édition, l’affiche était particulièrement dense, entre pop, rock et punk. Dès cette première journée, la programmation démarre fort.
On débute en douceur avec la Néerlandaise Roxy Dekker sur la Main Stage. À seulement 21 ans, l’Amstellodamoise s’est fait un nom sur TikTok avant de transformer chaque single en tube national — de Sugardaddy à Gaan we weg? avec Ronnie Flex — jusqu’à son premier album Mama I Made It. Sa dance-pop procure une joie immédiate et rassemble.
Direction ensuite la scène Club pour Camille Yembe, autrice-compositrice belge née à Molenbeek d’un père congolais et d’une mère belge. Révélée par le titre Plastique, salué en son temps par Stromae, elle nous présente son premier album Jeune & Laide, sorti en mai 2026. Un album audacieux qui nous racontent sans filtre une jeunesse mouvementée entre précarité et reconstruction, mélange de pop, rap et chanson française.
Vient ensuite au tour d’ Alessi Rose sur la scène Wave. Jeune pop star anglaise originaire de Derby, repérée par Dua Lipa elle-même qui l’a embarquée sur l’intégralité de la partie européenne de sa Radical Optimism Tour, avant de rejoindre Tate McRae sur sa Miss Possessive Tour. Une popstar en devenir, à suivre absolument !
En parlant de princesse de la pop, impossible de louper la superbe Becky Hill sur la Main Stage. Figure incontournable de la dance pop britannique, artiste complète et vraie performeuse, elle s’apprête à dévoiler à la rentrée un tout nouvel album, Rebecca.
Changement de dernière minute : Lous and the Yakuza est remplacée par Royal Blood. Une très belle surprise. Vite, direction la scène Marquee, où le duo originaire de Brighton — juste une basse saturée et une batterie — livre une vraie révélation scénique, un rock lourd et énergique.
Au même moment, difficile de ne pas faire un crochet pour Nxdia. Née en Égypte et élevée à Manchester, l’artiste de 25 ans ne s’embarrasse d’aucun code : elle mélange les genres sans complexe et impose une identité scénique bien à elle, entre énergie punk et mélodie pop. On l’avait déjà repérée l’an dernier au Bludfest, le festival organisé par Yungblud, où elle avait fait forte impression.
S’enchaîne Major Lazer, le projet électro-dancehall né dans la tête de Diplo, une machine à tubes (Lean On, Cold Water), parfait pour mettre l’ambiance.
À 18h35, rendez-vous à la scène Marquee pour écouter la sublime Kelis, icône du R&B des années 2000 et autrice de l’imparable titre Milkshake.
Puis voici l’heure de l’incontournable Djo. On retient de Joe Keery sa révélation dans Stranger Things, mais sa carrière de musicien est un franc succès : son dernier album est une vraie pépite, et il a même fait une apparition dans le clip Loser de Tame Impala. Impossible de passer à côté de End of Beginning, son single devenu viral.
Vient ensuite Geese, groupe new-yorkais taillé dans l’énergie brute du rock de Brooklyn, puis Turnstile à la Main Stage à la tombée de la nuit : le show est complètement dingue, le public déchaîné, le chanteur un vrai performeur.
La soirée est loin d’être finie — toujours dans l’énergie rock, retour à la scène Marquee pour les Hives. Ce groupe suédois complètement dingue, en costumes assortis depuis plus de vingt ans, est aussi iconique dans sa présence scénique que dans son sens du spectacle ; le chanteur saute partout, c’est incroyable.
Enfin, pour clôturer la journée en beauté : Yungblud en tête d’affiche, trois ans après son passage à Pukkelpop. La vraie révélation rock de l’année, sans aucun doute. Ce concert restera gravé dans le marbre : blessé à la jambe, plâtré, il n’a aucunement annulé le show, le dernier de sa tournée Idols the Tour — impossible pour lui de décevoir ses fans.
Il débarque en chaise roulante, accompagné de deux infirmières, grand sourire, et entame le mythique single Hello Heaven. Le concert est fou : malgré son plâtre, il fait le show, ne lâche rien, et va même jusqu’à faire du crowdsurfing en chaise roulante sur Fleabag, au milieu du public !
La grande force de Pukkelpop, c’est justement de ne jamais s’enfermer dans un seul style : pop, rock, punk, électro, hip-hop… les scènes se répondent et se contredisent, chacune avec sa propre identité. Si bien qu’on passe d’un univers à un autre en quelques minutes de marche.
Le festival a aussi pensé à ceux qui ont besoin de souffler, avec de vrais espaces pour se poser entre deux concerts, loin de la foule. Côté papilles, la variété est au rendez-vous, avec de quoi satisfaire toutes les envies et tous les régimes.
Et surtout, malgré sa taille impressionnante, Pukkelpop reste étonnamment fluide : on circule facilement d’une scène à l’autre, et le festival a mis en place une vraie plateforme d’accessibilité pour les personnes à mobilité réduite, preuve qu’un événement de cette envergure peut rester accueillant pour tous.
JOUR 2
Pour cette deuxième journée, on prend le temps : visite du festival, des différents stands et des activités, histoire de profiter de tout ce que Pukkelpop a à offrir en dehors des scènes.
Direction la scène Marquee pour Selah Sue and The Gallands. Le projet réunit l’icône belge Sanne Putseys, alias Selah Sue, et le duo père-fils Stéphane et Elvin Galland, entre jazz, soul et électronique — leur album Movin’ en est la preuve vivante. Sur scène, elle marque par sa voix, son style et surtout sa bonne humeur très communicative.
Ensuite, on retrouve Wet Leg, groupe britannique de l’Île de Wight porté par Rhian Teasdale et Hester Chambers, révélé par le tube ironique Chaise Longue et récompensé aux Grammy Awards dès leur premier album. Le duo poursuit son ascension et sera d’ailleurs en première partie de Tame Impala à la rentrée !
Puis la soirée s’enchaîne côté rock : Wunderhorse, mené par l’énergique Jacob Slater, livre un rock sans filtre ; place ensuite à Deftones, monument californien du rock alternatif, référence absolue depuis White Pony.
Enfin, place à l’attitude complètement déchaînée d’Amyl and the Sniffers, portés par une Amy Taylor toujours aussi survoltée sur scène.
On a quand même fait une pause nostalgie avec le concert de Natasha Bedingfield, revenue avec ses hymnes pop des années 2000.
La deuxième journée se clôture avec la magnifique Florence and the Machine, qui a tout emporté sur son passage : Florence Welch et sa voix habitée, entre grâce et intensité brute, offrent l’un des moments forts du festival.
JOUR 3
Pour ce dernier jour, place à une programmation particulièrement chargée en gros noms, entre pop, indie et hip-hop, avec, comme il se doit, une bonne dose de strass et de paillettes.
On commence doucement la journée avec la pop mélancolique du belge Iskander Moon. Ce multi- instrumentiste et producteur gantois de 25 ans a d’abord suivi une formation classique au piano avant d’obtenir un master en production musicale. Il présente une pop-folk romantique et délicieuse.
Changement de registre avec MILOALLTHELUKKEN. Ce jeune rappeur néerlandais, de son vrai nom Milo van den Bos, a débuté en 2019 au sein du duo Baby Boys avant de se lancer en solo en 2024 avec le single Huh. Depuis, ils enchaînent les singles (Baddie, Ff Kappe Nou) et surtout le tube numéro un Lijntje, qui l’a propulsé très rapidement sur la scène rap néerlandaise.
Puis vient Adéla, et son concert restera l’un des grands moments de la journée : la chanteuse slovaque a déjà une vraie fanbase, très impressionnante pour une artiste aussi jeune. Le public s’est préparé pour l’occasion, certains en outfit rose — d’autres ont même eu la chance de repartir avec le t-shirt du merch, siglé « les bad bitch se trouvent en Belgique ».
Révélée par la compétition The Debut: Dream Academy, dont est issu le groupe de K-pop à succès KATSEYE, Adéla n’a pas été retenue dans le girl group final. Mais ce n’est pas ça qui va l’arrêter. En quelques mois, elle a su s’imposer et proposer un véritable show. Chorégraphies millimétrées qui mélangent danse classique, hip hop, heels, elle sait tout faire. C’est une véritable star et son ascension ne fait que commencer.
Sur la Main Stage, place à S10. La Néerlandaise Stien den Hollander s’était déjà fait un nom en 2022 en représentant les Pays-Bas à l’Eurovision avec son titre De diepte, premier titre en néerlandais envoyé au concours depuis 2010. Le show est plein d’énergie entre pop alternative, rap, elle emporte tout le monde avec elle.
On enchaîne avec Bazart, groupe gantois formé en 2012. Habitués des plus grandes scènes belges, ils livrent une indie pop en néerlandais. Et le sourire du chanteur Mathieu Terryn est tellement communicatif. C’est un vrai showman.
Puis vient au tour de Denzel Curry. Fidèle à lui-même, c’est une pile électrique sur scène. Un show à voir absolument pour les amateurs de rap.
La très attendue Zara Larsson est ensuite venue présenter son Midnight Sun Tour sur la grande scène. Et elle a carrément créé un phénomène : pour la dernière chanson, le public lui a rendu hommage en reproduisant sa pose emblématique du clip Midnight Sun, ce qui a déclenché chez la Suédoise un fou rire en plein concert — un moment devenu instantanément viral sur les réseaux.
Zara Larsson, c’est de la bonne humeur, des pas de danse, mais surtout des moments iconiques comme le passage de Lush Life où une jeune maman est venue faire la chorégraphie avec elle.
Sombr a lui aussi marqué les esprits : arrivé sur scène dans une tenue argentée sublime, aux côtés d’Adéla, à bord d’une décapotable, l’Américain de 19 ans est la nouvelle révélation pop alternative de l’année. Il présente son premier album, I Barely Know Her, un vrai succès, porté par le hit Back to Friends. On découvre aussi son tout nouveau single pour la première fois en live, My Body Isn’tReady, un titre touchant qui aborde avec sincérité la question de la relation avec son corps.
Retour aux riffs de guitare avec Parcels, dont l’iconique son funk et disco, groupe australien basé entre Berlin et Paris, a transformé la scène en véritable dancefloor.
Et pour clôturer ce dernier jour en beauté : Tyler, The Creator. Pas de flammes cette fois, restrictions climatiques obligent, mais un show complètement dingue tout de même.
Enchaînant les classiques les uns après les autres, l’Américain, de retour avec son tout récent album Don’t Tap the Glass, a mis un public totalement à fond, un performeur hors norme.
Cliquez ici pour nos galleries photo du Jour 1, Jour 2 et Jour 3 du festival !
Festivals
All Things Go DC 2026: A Weekend Full of Music, Memories, and Unforgettable Moments
All Things Go DC is arguably one of the top festivals in the country and each year they outdo themselves with an even bigger and better experience. Each year you think the lineup is so spectacular but it just gets more amazing as the years go on. Part of what makes All Things Go one of the best festivals in the U.S is their ability to book more women, non binary, and queer artists on their festival. In a world that is overly dominated by male artists on festival lineups it is so refreshing to see such a diverse lineup. And this year’s lineup had to be their best yet. Headliners for the three day weekend included Mitski, Hayley Williams, and Brandi Carlile. But it just got better from there. Other standout acts who were featured in DC were MUNA, Slayyyter, Tinashe, Ethel Cain, Wolf Alice, Zara Larson, and so many more amazing acts. There was simply an artist for everyone’s taste and that’s what makes ATG feel so special.
All Things Go is an experience that makes every moment feel special. It is more than just a lineup of artists performing on stage, it was a celebration of music, community, and the connections that live music creates between people. One of the first things that stands out about All Things Go DC was the overall atmosphere. There is something uniquely exciting about arriving at a music festival and seeing thousands of people gathered together, all ready to sing, dance, and enjoy performances from their favorite artists. The energy was contagious, and even before the biggest sets began, there was a sense of anticipation throughout the crowd. Whether people were meeting up with friends, discovering new artists, trading friendship bracelets, taking pictures, or finding the perfect spot to watch a performance, everyone seemed to be there to make the most of the experience.
All eyes were on the DC version of the festival, as unfortunately due to extreme weather the New York version got canceled. So while the party couldn’t go on in NYC, there was still a good time to be had in DC, and a damn good time was had for sure. Even with the rainy and cold weather for Saturday and Sunday, it didn’t put a damper on the weekend and spirits were just as high as the beautiful weather day on Friday.
Speaking of Friday, Day One of the festival saw probably the biggest crowd of the weekend, with a stacked lineup ahead of the day, everyone was in for a treat. Day one featured a stacked lineup at both the Chrysalis stage and the main Pavilion stage. Here are some of our favorite stand out acts from day one.
Rico Nasty
Rico got the energy going early on in the day with a spectacular set. One of the most impressive things about Rico Nasty as a performer is her ability to command a crowd. She had them dancing and screaming lyrics back from the start of her set. What a way to start off the day.
Underscores
Underscores was directly after Rico’s set on the same stage so the energy was already high and fans were eager to get to hear Underscores blow their minds. She brought the electric energy and played songs like “The Peace”, “Music”, and “Hollywood Forever” to the crowd’s delight.
Slayyyter
One of the best sets of the weekend arguably was Slayyyter who has been on a tear recently in the industry. It was clear a lot of people came that day for her as you could see them decked out in Slayyyter inspired fits that were out of this world. She played the Chrysalis stage and had the crowd’s attention from start to finish. Quite possibly the loudest I’ve heard the crowd scream “Crank It” from her hit song “CRANK”. What an unforgettable set, she is truly such a star.
Ethel Cain
Ethel is no stranger to ATG as she has played the past few years of the festival. It would be hard to top Slayyyters set right after but Ethel Cain came very close. Though a very different vibe (think crying), fans were equally excited to see Ethel bring her emotional music to the ATG stage. The great migration from the second stage to the main stage was chaotic and saw some running to try and get a good spot for Ethel. It was truly an ethereal set and saw so much emotion from dedicated fans at the barricade. Ethel simply never disappoints at All Things Go.
Magdalena Bay
The ever so magical Magdelena Bay closed out the Chrysalis stage with their Imaginal Disk themed world. Their stage setup is one of the most unique and fun with glowing space themes. Magdalena Bay is one of the best picks for anyone who loves ambitious pop production, imaginative visuals, and music that feels like stepping into another world.
Day Two Highlights
It was going to be hard to beat such a fantastic Day One of the festival but Day Two surely brought the heat. Though Day Two saw rain in the forecast throughout the day, it didn’t change how excited fans were to be there.
Haute & Freddy
The powerful duo of Haute & Freddy took to the Chrysalis stage early on Saturday and put on a spectacular show. One of the most unique acts of the fest, Haute & Freddy have been making waves with their cheeky and cool clown ren faire inspired look and vibes. One of the most fun sets of the weekend for sure.
Hemlocke Springs
Another stellar artist taking the main Pavilion stage was Hemlocke Springs. Her artistry and songwriting is brilliant and it really showed through in her All Things Go Performance. She is currently on tour opening for MUNA and the two of them together are such an iconic duo. You’re missing out if you haven’t seen Hemlocke Springs live yet.
The Beaches
Toronto stars The Beaches made their way back to the All Things Go stage again for the second time this year as they had played the Toronto version back in June. They always know how to put on a great show and it was even more evident here in DC. They played their classic hits like “Blame Brett”, “Edge of The Earth”, and “Can I Call You in The Morning”. Fans were loving every minute of their set despite the ongoing rain during it.
Del Water Gap
Del Water Gap was another standout act from a rainy Day Two. His charm and charisma on stage is what really brought him and the crowd together. He sang some classic songs from his discography like “Better Than I Know Myself”, “Glitter and Honey”, and “Ode To a Conversation Stuck in Your Throat”. For one of the last songs he even got down to the crowd and jumped into the pit with them to sing and dance together, it was such a sweet moment.
MUNA
The ever-so-great MUNA are also no strangers to the All Things Go stage as they have performed at both NYC and DC in the previous years. They even came up with the term “Lesbopalooza” to describe the overall gay vibes of All Things Go Festival, and them being a queer band themselves of course. They definitely brought their best show to All Things Go and there wasn’t a moment that people were not dancing or screaming the lyrics back to the band. It was so euphoric and that’s what makes MUNA such a strong choice for All Things Go each year. Simply put they are the greatest band out there.
Hayley Williams (The Hayley Williams Show)
Saturday’s headliner was none other than Miss Hayley Williams otherwise known as the lead singer of Paramore. But this time she was in her solo era bringing her unique solo show to All Things Go. A powerful, polished, and deeply personal performance. Hayley brought together the theatrical ambition of her solo music, the intensity of her vocals, and the political candor that makes her such a compelling live performer. The elaborate staging and planned encore gave the set a sense of occasion, while “Cinnamon” and “Don’t Let Me Be Misunderstood” stood out as highlights. She truly is such a stellar performer and it was the best way to close out another fantastic day at All Things Go.
Day Three Highlights
The final day of the festival was upon us and we didn’t want it to end. It’s been such a beautiful weekend with some of the most amazing artists you could ask for.
Googly Eyes
To start the day off nice and early we had Googly Eyes put on an amazing show at Chrysalis stage. Her sound blends experimental electronic pop, stellar songwriting, and emotionally raw vocals. She drew attention after sending demos to Tove Lo and Flume’s artist development initiative, leading to collaborations and industry interest. Her recent single “Pandora’s Box” was released September 18, 2026, ahead of her All Things Go debut.
CMAT
One of Sunday’s most joyful, offbeat, and surprisingly moving performances was CMAT on the pavilion stage. Her set offered a different flavor from the weekend’s bigger dance-pop and alternative-rock performances, less about spectacle for its own sake, more about personality, storytelling, and songs that make you laugh before they hit you in the feelings. She had the crowd going wild throughout her whole set and added a cheeky touch with having her band all dressed up in fun ways.
Wolf Alice
If you’re wondering whether Wolf Alice are worth seeing live, the critical consensus is a strong yes. Their recent shows combine atmospheric indie rock, explosive guitar-heavy moments and increasingly ambitious stage production. Ellie Rowsell can move from delicate, dreamy singing to fierce, full throated rock vocals. She is one of the best vocalists in the industry and she came to slay at All Things Go.
Tinashe
Pop diva extraordinaire Tinashe put on one of her best performances at All Things Go. The performance arrived just after the release of her new album Popstar, giving the set a timely, fresh feel rather than making it purely a nostalgia trip. Though she did still play the hits like “Nasty” to the crowd’s delight. She is truly having her popstar moment, with her backup dancers accompanying her set as well as going behind the DJ booth for the second half of her set. Truly a pop diva moment we won’t soon forget.
Lola Young
Lola Young wanted a redemption at All Things Go as last time she was at the festival, she wasn’t in the best of places. And she sure had her redemption as she put on one of her best performances yet. She thanked the fans for being so patient with her as she took time away to work on herself. And now she is back better than ever and truly shining at All Things Go.
Brandi Carlile
With the last act of the entire festival we had none other than Brandi Carlile. And what a way to close out a festival. Her set was one of the most moving and emotional sets of the weekend and it still brought the electric energy to the festival. She has such stunning and elaborate production and so many beautiful moments throughout the set that really brought a tear to your eye. One of those moments being performing “The Joke” with the New York City Gay Men’s Chorus. Another sweet moment was when Brandi brought out CMAT to perform a song together. Brandi sure knows how to put on such a cathartic and stellar show. We simply couldn’t have asked for a better way to end such a fantastic weekend.
What makes All Things Go DC particularly appealing is the combination of its musical identity and the sense of community surrounding it. The festival feels like an opportunity to celebrate artists who mean something to their listeners while also creating space for new discoveries. It brings together people who might have different favorite performers but share an appreciation for music and the emotions that come with it.
There is also something special about seeing artists perform in a festival setting. A concert gives you the opportunity to focus on one artist for an entire evening, while a festival allows you to experience a much wider range of performances and musical styles in a relatively short period. You can move from one atmosphere to another, experience unexpected highlights, and find yourself enjoying a set you had not originally planned to watch.
All Things Go DC was a memorable celebration of live music, community, and the excitement of experiencing your favorite artists in person. The performances, enthusiastic crowds, variety of musical styles, and overall atmosphere combined to create a festival experience that felt special from beginning to end. All Things Go offered more than entertainment, it created a space where people could connect through music and enjoy a shared experience. We had an amazing time at All Things Go and are counting down the days until next time.
Head to our Facebook page for the full photo galleries of Day One, Day Two, and Day Three.
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By Erin Crowley
Festivals
Sommo Festival 2026 – Day 2 Recap & Photos
By the second day of Sommo Fest 2026, the overall grounds felt much more populated than they were the day before. The day’s music lineup consisted of indie folk, pop, and nostalgia before eventually arriving at Sombr, an artist whose rapid ascent has made him one of the most talked-about young names in alternative pop.
The most interesting thing about day two was that the music never seemed confined to the stages. On Friday, many spent the day camping the main stage to have a close spot for Twenty One Pilots, but those who attended the second day chose to take advantage of the full array of activities that the festival had to offer, such as a wide range of food and vendors. Groups were staking out patches of grass, drifting between performances, and I chatted with many different staff members who were in awe of Twenty One Pilots’ performance the day before, having previously known little about the band. Saturday at the fest felt more authentic to the core values of the festival, a place to celebrate local talent and local food.
At one point, I found myself at the Culinary Stage, which I didn’t have a chance to visit on Friday, watching a surprise appearance by Sofia Camara — an artist I had already seen perform on the main stage. I also had the pleasure of catching a surprise appearance by Canadian singer and rapper SonReal before that. At Sommo, food is part of the programming rather than an overthought. The festival’s Culinary Stage hosts live cooking demonstrations, conversations and tastings, while vendors throughout the grounds lean into the food culture of Prince Edward Island. Although the food was pricey (I’m looking at you, $80 pizza!), it felt like a much better use of my money to support local chefs and authentic Prince Edward Island cuisine, rather than to spend my money on a quick, greasy bite like I do at other fests.
Flower Face was the first performance of the day I caught on the Nova 7 Sandbar Stage, which felt fitting as the musician is based in Montreal (so am I!) The project, led by Ruby McKinnon, is music described as goth-folk and dreampop, and it carries darkness, tension and emotional
lyrics that felt as if they were more intimate than to be heard in an open, music festival. But the response was welcomed, and attendees passing by to check out what the grounds had to offer couldn’t help but stay for a couple songs. Although the performance itself didn’t have much spectacle, I felt it gave the audience an opportunity to feel the emotion in the words sung without distraction.
I was lucky to catch Edgehill as my second performance of the day, also at the Nova 7 Sandbar
Stage! Sommo Fest was the first stop of the American trio’s Moving Out tour, and their set was a great way to amp up the energy of day 2. Their music is described as “high-energy” with“guitar-driven anthems,” and the band was able to pull a steady crowd despite it being one of the earlier sets of the day. Their music has a strong sense of nostalgia in the sound, giving the band a “friends playing music in a garage” feel, in all the best ways! Truly one of my favourite surprise finds of the weekend!
Sofia Camara was one of the day’s most memorable artists, precisely because I got to see her twice, once on the Colliding Tides main stage and the other a bit later in the day on the Culinary Stage. On the main stage, Camara proved exactly why she was one of the weekend’s highlights. Her pop songwriting has an emotional directness that felt so natural in a festival setting, and she performed with the confidence of an artist who knows both her talent and the audience she’s performing to. Her 2026 single “The Last Encounter,” for example, focuses on the realization that a relationship has reached its end, framing heartbreak through acceptance rather than usual sadness, a unique perspective you don’t hear often in breakup songs. Later in the day as I was heading out to capture some photos of the festival grounds, I happened to walk past the Culinary Stage and, to my surprise, Sofia Camara was there as a surprise guest. Suddenly there was no giant stage separating the artist from the audience, and it was a truly unique experience to see the more human side of performers that many don’t get to see. Sommo Fest describes the stage as a space for chefs and personalities to cook, talk and share food with festivalgoers, and I thought it was a very smart touch to have surprise artist guests throughout the weekend to gather more interest and let attendees experience a truly unique space of the fest.
After, I headed back over to the Nova 7 Sandbar Stage to catch Canadian singer-songwriter, Jade LeMac. I was fortunate enough to catch two of her performances in the last 2 years in Montreal, but it was my first time getting to see her perform at a festival! Although LeMac has an easy stage-presence and never has an issue commanding an audience, it was a special experience to see her capture an audience in real time, with many viewers coming in after a song or two to “check it out” and choosing to stay for the whole show, rather than buying a ticket because they already knew who she was. Performing hits like her most popular song “Constellations,”, Jade LeMac danced and spun on every inch of the stage with a smile on her face the whole time. She was into the performance, and so was the audience and both energies fed into each other, leading to one of the highlight performances of the weekend.
By the time Wild Rivers took the main stage late Saturday afternoon, the crowd was already beginning to gather in anticipation of the day’s headliner, Sombr. Rather than simply filling time before the evening’s biggest set, however, the Toronto indie-folk group gave festivalgoers plenty of reason to stay engaged, delivering a warm, danceable performance that felt perfectly suited to the ocean atmosphere.
Wild Rivers, made up of Devan Glover, Khalid Yassein and Andrew Oliver, have built their sound around a blend of indie folk, pop and rock. The band has steadily expanded that sound since forming in Toronto, eventually earning a Juno nomination for Breakthrough Artist of the Year in 2023, and Adult Alternative Album of the Year in 2025, and touring alongside artists including The Chicks and Noah Kahan.
That connection to Kahan was particularly relevant at Sommo Fest, as he performed at the festival during its second edition in 2024. Many festival attendees of that year, or fans of Noah Kahan in general found themselves particularly enjoying Wild Rivers set, as they have a similar feel to their music.
The group’s breakout song, “Thinking ’Bout Love,” was an obvious highlight to the set. Originally released in 2019 and later reimagined with Wrabel, the song became a breakthrough moment for the band, helping introduce their harmonies and bittersweet songwriting to a much wider audience. Their more recent material demonstrated how much the band’s sound has continued to develop. Their 2024 releases Never Better and Better Now explore different shades of the group’s identity, with Better Now described by the band as a moodier companion to Never Better. Those songs gave the performance a broader emotional range, balancing reflective songwriting with the dance-worthy energy that kept people moving. It’s hard not to dance when the artists themselves are having such a good time on stage!
Wild Rivers may not have been the day’s headliner, but their Sommo appearance demonstrated the value of a festival’s supporting stages and earlier sets. For returning Sommo Fest attendees and Noah Kahan fans, the performance offered a welcome connection to an artist they’d encountered before. For those discovering the band for the first time, it was an easy invitation into their world.
With Sombr still to come, Wild Rivers left the Sommo Fest crowd in exactly the right mood: energized, familiar with the music, and ready for what the rest of the night had in store! One of the best parts of music festivals is hearing a song you have not heard in years and suddenly remembering exactly where you were when you first heard it. That sense of nostalgia was impossible to miss during Natasha Bedingfield’s performance at Sommo Fest, where a visibly excited crowd came ready to revisit the songs that helped define their years of growing up.
From the opening moments of her sub-headlining set, Bedingfield quickly proved that the appeal of those familiar hits has not faded. Her vocals were strong, confident and powerful, bringing a sense of energy to the stage that set the tone for the rest of the evening. The roar of cheers during the first chorus of “Pocketful of Sunshine” was deafening, with fans recognizing lyrics and screaming them out instantly. Bedingfield’s performance was exactly the type to be made for a festival stage.
“Unwritten” naturally became one of the evening’s defining moments, and was a personal highlight of mine as well. Hearing thousands of festivalgoers respond to it together gave the performance an even stronger sense of community. I took the moment to video call my friends who were unable to attend the festival so that we could experience the song together, and to me, that is what festivals are truly about; sharing a love of music with those closest to you.
What made the set particularly enjoyable, though, was Bedingfield herself. She appeared genuinely happy to be onstage, embracing the energy of the festival and seeming to savour each moment, and all it did was unite the crowd further into the performance. There was no sense that she was simply moving through the setlist; instead, she approached the material with the energy of an artist still excited to perform it.
Ultimately, Bedingfield’s Sommo Fest performance succeeded because it brought together two things festival audiences often crave: the comfort of songs they already know and the excitement of experiencing them live.
Finally, it was time for the festival’s closing performance. For an artist still establishing himself, Sombr has already grown a successfully dedicated fanbase, with many who spent the day camped out at the main stage for a close spot. That connection was impossible to miss during his performance at Sommo Fest, where handmade artwork, posters and enthusiastic fans filled the crowd.
His performance was loud and theatrical in all the best ways, with his intro being him driving to the stage in a car, and throwing in a quick push-up workout before his 14-song set. Sombr’s performance demonstrated just how quickly his music has resonated with listeners. Perhaps the most memorable example of that connection came when Sombr turned his attention toward a group of fans who might not immediately fit the stereotypical image of a young pop audience.
Spotting a group of older women wearing “Gen X Sombaddie” (“Sombodies” being the name given to the Sombr fanbase) shirts, Sombr took the moment to appreciate them and their dedication. It was a small gesture, but one that captured something significant about his appeal. His music may be new, but its themes of relationships, heartbreak and growing up are hardly new topics, let alone topics confined to one generation. Seeing fans from an older generation proudly embrace the “Sombaddie” identity was a reminder that relating and finding comfort in music doesn’t have an age limit.
One trait of Sombr’s performances that I find particularly endearing is his ability to make each show feel special. During “back to friends,” Sombr took a flag and wrote “Prince Edward Island” across it. He then ran along the barricades with the flag, stopping to hug and high-five fans along the way. In a festival environment where the physical distance between performer and audience usually breaks that feeling of intimacy and connection, Sombr ensures his
performance does the opposite. On a small note, I appreciated how he took the time to write out the full province name, rather than a quick “PEI”, its common abbreviation. His newest song “My Body Isn’t Ready” was performed emotionally and vulnerably, and left many fans in tears who could connect to its themes of insecurity, particularly in a relationship.
There is something exciting about watching an artist at the beginning of their career, particularly one who had a sudden rise to fame. The songs are already reaching people, but the relationship between the artist and his audience still feels personal rather than distant. At Sommo Fest, he embraced that intimacy, making time for the fans dedicated enough to wait at the stage all day for him. Although I was fortunate enough to catch Sombr’s Osheaga performance as well, I find it lacked a certain intimacy due to the festival’s size that was felt much more strongly during Sommo Fest, a theme I felt myself experiencing often throughout the weekend!
Overall, I thoroughly enjoyed my first year at Sommo Fest. From getting to see my favourite band, Twenty One Pilots, to taking the plane for the first time on my own to a place I haven’t been before, every experience felt new to me. It was wonderful to see a festival stay so true to its values, with every attraction such as local vendors and cuisine having an important role rather than being placed there as a cash grab. One thing I appreciated most when visiting the merch stand was seeing discounted merch from previous years. The designs are truly adorable and well thought-out, and it was nice to see a festival promote sustainability and try to limit waste as much as possible. It was enjoyable as well to experience a festival that felt more slow-paced than I was used to. Everyone I met was open to chatting, and it was easy to navigate without ever experiencing huge crowds that barely moved or lines that took hours to get through.
Of course, a main highlight as well was the display of varied talent on the lineup. It felt cohesive, but unique in a way that a fan of any genre could find a new favourite artist. I also appreciated the majority of the lineup being Canadian. Osheaga and FEQ do have their fair share of Canadian artists, but it felt special to see so much unrecognized talent featured on such a big stage.
I’m already looking forward to the 2027 lineup, and I hope to see you there!
Check out some of our favourite photos of Day 2 or head to our Facebook page for the full gallery!
All Photo Credit: Ashley Bellam