This year’s Lollapalooza felt like lightning in a bottle. For many festival goers, Thursday began with palpable joy, with people rushing into the festival as doors opened, astounded by the event’s sheer spectacle. Friday continued this energy, as a packed lineup left crowds satisfied, craving more. Saturday and Sunday devolved into “Mudapalooza,” but didn’t shrink the energy or experience of the acts. Lolla’s ability to even have a show on its later days was a testament to their incredible production teams and staff. This festival must have been a gargantuan logistical effort which was barely felt once the doors opened on Saturday, save for a few people getting stuck or falling in the mud. 

What’s great about Lollapalooza is the sense of community at the festival. From audiences discovering new artists on a whim to meeting new friends in a pit waiting for a set to begin, the opportunities to connect with other people are endless. The weekend’s best moments, like Audrey Hobert’s second rendition of “Sue Me” without a phone in sight, or the crowd at Turnstile’s joyful raucous moshing and even Saturday’s lesbian mud wrestling event, didn’t rely on technology or brands at all – just the bonds that people make with one another because of the music they love. 

Because of this festival, people come to Chicago and experience the community that the city creates. Whether it’s at the festival itself, at the food stands of local vendors or at one of Lollapalooza’s many aftershows at local venues, Lollapalooza and the city of Chicago are deeply intertwined. 

But at its worst, Lollapalooza can feel draining and superficial. At night, the festival can feel like a surreal combination of Disneyland, a nonlethal rendition of the Purge, a real-life rendering of your TikTok For You page, an under 21-lounge or the absurd upcoming movie One Night Only (a romcom where single people can only have sex one night out of the year), depending on what headliner you choose to see. Every minute that you’re not actively enjoying a show feels like wasted time because of the immensely packed lineup. Much of the festival feels inaccessible for mere general admission ticket holders, as I was often too far away from a stage to make it to an act or too far back in the pit to enjoy it. 

Undoubtedly, the worst parts of the weekend weren’t exclusive to Lollapalooza but reflected a growing misalignment between Gen Z audiences and the concert experience – one that only intensifies in a festival environment. In my opinion, social media concert culture poisons the festival experience. Teenagers who wanted to get as close as possible to get good pictures, namely for Tate McRae, were indifferent, if not actively rude to the earlier acts performing at T-Mobile stage as they wasted the day away in the pit to be well-positioned for a good Instagram story later in the night. Whether they were sitting down, talking during the set, looking irritated or using the bathroom in the crowd (yes, this really happened), this behavior reeks of entitlement and ruins the experience for everyone else.

It feels like much of the festival, especially the overwhelming number of sponsored brand activations, only exists for social media content creation. At any set, your view may be blocked by hundreds of phones looking to capture the moment on video. Do any of them end up watching it later? And even worse, people don’t dance, sing or clap at a show because of the panopticon in the crowd. In this regard, Perry Farrell likely had a much easier job creating an enjoyable festival experience in 1991. 

But that doesn’t mean that Lollapalooza is a completely lost cause. Numerous Chicagoans and visitors to the area expressed that their worst fear was that Lollapalooza would become Coachella, Ferris wheel and all, and that it would somehow lose what makes the festival special. But this fear only exists because the audience knows that the festival is incomparable, that Lolla’s energy is so unique, and that try as other festivals might to replicate it, they can’t. There is something worth protecting here, and everyone knows it. 

With that in mind, here are the acts that I saw that are worth talking about: 

Thursday

Kim Theory 

I found Kim Theory online before Lollapalooza, as I was interested in up-and-coming rock acts playing the festival. Songs like “Child Star Teenybopper” spoke to the angst I wished I had been brilliant enough to articulate in high school and displayed a stunning amount of vocal prowess from lead singer Audrey Cymone. I showed up early on Thursday to be sure to catch their Lollapalooza debut. 

An all-girl punk band from Los Angeles whose members are still in high school, Kim Theory proved that electrifying, impactful sounds don’t have an age limit. They expertly connected with the audience, having them mosh and scream along, expecting full participation as the premiere set at the Airbnb stage. Their influences, including the Riot grrl movement and 90s rock, as well as contemporary icons like Chappell Roan, as the band delivered a raw cover of “My Kink Is Karma” to close out their set, were on full display during the band’s half-hour. 

Penelope Road 

Penelope Road’s indie rock with funky southern influences and skillful guitar licks and vocal riffs made their music distinctive, and this band is one to watch. They even brought harmonies, lively guitars, and a distinctive vocal twang to the much overdone “Everybody Wants to Rule the World,” making the song still feel somewhat fresh. The band’s imagery of mountains in the rearview, hurricanes coming in and a lover smiling complimented the sunny Chicago skyline wonderfully. 

Haute and Freddy 

Fans of Chappell Roan and Lady Gaga will love this group’s court jester-themed theatricality as they belt out ballads like “I Like My People Weird,” and their upbeat bops like “Shy Girl.” The lead singer has an ethereal vocal quality and an immensely expressive face. 

While Haute and Freddy only have one album out, their experienced songwriting was on full display throughout the set, including an improv section wherein they asked the audience members what they do to make the troubles go away and created a song around it.

Overall, Haute and Freddy provided an innovative concept that shows a bright future of pop, but most audience members couldn’t open their eyes to see it. This act was the beginning of a horrible trend I noticed this weekend where people camping out for that night’s headliner, especially at the T-Mobile stage, did not act enthused or even mildly happy when the preceding acts came onstage. This behavior felt antithetical to Haute and Freddy’s inclusive, fun and fresh music that should create a world where tomfoolery is the norm. 

5 Seconds of Summer

A more nostalgia-driven lineup choice that reflects a yearn for the 2010s, 5 Seconds of Summer played the T-Mobile stage Thursday afternoon. However, the band didn’t just phone it in, showing some pre-filmed skits, like the band accepting a fictional award from “The Boyband Awards.” They also came into the audience on platforms that read “real fans save bands” as an ode to their passionate fanbase.

5SOS’s set felt like the perfect environment to exhibit hedonistic tendencies, letting out your inner feral middle schooler. The band asks “I wanna get high, I wanna get drunk, when you gonna grow up?” which feels ironic given the number of overgrown 20-somethings (myself included) in the crowd who seemed to refuse to fully mature. Sure, they’re running on the fumes of their nostalgia, but it’s clearly working, as hits like “Amnesia” and “Youngblood” seemed to activate the sleeper agent within me to sing along to these songs, even though I had never consciously listened to them, and the crowd seemed to feel the same. 

Audrey Hobert 

One of the best attended afternoon sets of the day, Audrey Hobert brought her signature brand of confessional pop to the Allianz stage, stepping out in a gargantuan trench coat and banjo to sing “I like to touch people.” Her songs have escalated in popularity, but Hobert’s ethos stayed the same, remarking that she was “definitely getting sunburnt” and that it was “ludicrous to be up here.” Hobert’s humility aside, her strongest moments came in the delightfully earnest “Phoebe,” and her second rendition of “Sue Me,” during which she had the audience put down their phones and just dance it out. I was a fervent Hobert supporter before Lolla, and this set only proved me right. 

Sombr

Even though he brought the crowds, I simply don’t think Sombr has the experience or the talent to be a mainstage act. While I was closer to the Allianz stage scoping out a spot for Wet Leg, the people around me seemed wholly uninterested in his performance. His stage presence and vocal quality were lacking as he pranced around the stage in a goth imitation of a typical Harry Styles outfit. While special guests usually help make a set feel fresh and unique for a festival crowd, Sombr chose to bring out 5 Seconds of Summer to sing a song they just played an hour before, so it felt redundant. His songs like “i wish i knew how to quit you” and “back to friends” are emotional ballads that pull from ideas already well-established by numerous, more astute writers. In my opinion, he’s a master imitator and he doesn’t feel original. 

Wet Leg 

Wet Leg brought an energetic and captivating performance to close out Allianz’s Thursday sets. As lead singer Rhian Teasdale emerged from the fog in a sporty chainmail outfit with long, wet, pink hair down her back, I knew we were in for a spectacle anchored by the band’s commanding stage presence. Wet Leg’s seductive melodies and catchy basslines only help drive their ethos home, as everything they do seems to exude coolness. Their music could be described as post-punk, but it feels like more than that, as their love of spectacle draws on 80s rock gods with elements of cheeky Britpop shining through. At Lollapalooza, Wet Leg felt singular, and like they’ve only grown since I first heard “Chaise Lounge.” And because of the band’s song “mangetout” making a notable appearance in Heated Rivalry, I saw a number of Hollander and Rosanov jerseys in the crowd. 

Lorde

My favorite of the weekend’s headlining sets, Lorde delivered an emotionally resonant and impressive performance, easily commanding the crowd. She employed a variety of theatrics: from bringing Charli XCX out to sing “Girl, so confusing,” talking through a piece of glass during “Shapeshifter” or wearing a heart monitor throughout the performance, these stunts helped communicate Virgin’s message, but she didn’t entirely rely on them. Her poignant lyrics and vocals really shined in this set, from her low alto tones on the outro of “Perfect Places” to the higher notes of “Broken Glass.”

Even those unfamiliar with her lyrics seemed captivated. Unlike the dark place Lorde was in when she wrote Virgin, her joy at headlining Lollapalooza is radiating off of her. You can tell that this set is a dream come true, especially as she speaks about only performing two songs in 2017, and that a song about horniness and obsession, “The Louvre” was what she wanted to play most. Lorde called Lollapalooza “the most beautiful festival [she’s] ever played,” instructing everyone to look at the Chicago skyline and reminding everyone of how far she’s come as an artist. This set felt like one of the great achievements of Lorde’s career and a promise that she’s not done yet. 

Friday

My day began with the Chicago Made showcase, a rapid fire presentation of some of the best emerging talent from the Chicago music community. While I wished that there had been a more diverse array of genres, as the set was mostly rap or DJ acts, the band Free Joel opened the showcase, delivering a slice of authentic Chicago rock. I also loved DJ Peter CottonTale and Lil M.U. 

Valencia Grace

I stumbled upon Valencia Grace after being drawn to her set at the BMI stage as if she were singing a siren song. Her clear-toned soprano voice and her dark pop aesthetic felt fresh and alluring. Her music was a unique combination of electronic sounds that reminded me of Lady Gaga, who graced the festival’s BMI stage in 2007. Valencia Grace completely won me over as she twirled around the stage in front of a prop guillotine singing her song “BDSM,” which felt like a future hit. 

Julia Wolf

This set at Tito’s stage was especially well-attended, and it was clearly for a reason. Julia Wolf’s emotional melodies with a mix of varying breathy and belty vocal techniques compliment her band’s sultry rock drums and guitars. Friday’s foggy air and slight rain made Wolf’s set feel straight off of the set of Twilight, as the Bella Swan inspired-singer serenaded the burgeoning crowd. While most of her songs are wistful yearning ballads, her “one angry song,” “Pearl” was fresh. 

Slayyyter 

One of the most crowded, yet captivating sets of the weekend, Slayyyter’s growing star power and vocal prowess are undeniable. As she walked out wearing what could only be appropriate for a rave at a Bass Pro Shop, I was along for the ride, fully surrendering myself to her singular point of view. Even in the sporadic rain, Slayyyter skilfully executes challenging vocal riffs while hyping up the crowd to party alongside her. “OLD TECHNOLOGY” and “CRANK” felt like anthemic, fresh club hits. Slayyyter refuses to be defined by genre; she blends impressive vocal techniques with funky basslines and different genres like hyperpop and industrial.

Suki Waterhouse

In her best moments, Suki Waterhouse is a confident, passionate singer of great love ballads. In her worst moments, Waterhouse seemed to prioritize the glam rock aesthetic over substantive lyricism or vocal ability. But this wasn’t all Waterhouse’s fault. It was extremely hard to hear her set towards the back of the Allianz stage, so I ended up leaving the set early. 

Yungblud

Yungblud has this unrelenting, almost cringeworthy energy that he employs as he engages with the audience. He throws his water into the crowd, removes clothing and makes the audience cheer for him at increasingly loud decibels. Unlike the fresh interpretations of metal and rock that Wet Leg, Kim Theory or Turnstile provided, Yungblud’s theatrics felt overcompensating, phony and stale. Endearingly, he did bring up a fan onstage to play guitar as he sang “Fleabag,” but when I learned this was a running gag he does, I was less impressed. 

The Smashing Pumpkins 

Even though I was tempted by Charli XCX, I couldn’t pass up the opportunity to see The Smashing Pumpkins perform at this year’s Lollapalooza. The Pumpkins proved why legacy acts can be the best of a festival’s lineup; there were Pumpkins fans of every age wholly captivated  by the band’s skill and cutting lyrics. The Pumpkins seemed to summon the rain as “Tonight, Tonight” began, creating a completely unique moment, a disco party in the rain before Corrigan remarked “alright, back to the sorrow.” 

They also kept the crowd engaged with a number of surprise guests, namely Olivia Rodrigo, who performed an acoustic duet of “Thirty-Three” with Billy Corrigan. They also closed their set with former bassist Melissa Auf der Maur, performing “The Everlasting Gaze.” But I was massively irritated that Yungblud was brought out to sing my favorite Pumpkins song, “Luna,” as I was longing to hear Billy’s rendition live, and I had just suffered through an hour of Yungblud earlier in the evening.

Saturday

We can’t talk about Saturday at Lollapalooza without mentioning the torrential downpour the city received, which meant that the festival’s doors didn’t open until 3 p.m., as crews dried up Grant Park to the best of their ability. I sadly only caught the last two songs of Die Spitz due to the monstrous security line at the festival’s main entrance. But I didn’t have to despair for long. For rock lovers like myself, Saturday’s lineup was a full buffet of talent squeezed into just a few short hours. 

Wolf Alice

Wolf Alice made the absolute most of a condensed 30-minute set. They mostly let loose and raged, showing the harder side of their discography, but ended with the softer, popular “Don’t Delete the Kisses.” Frontwoman Ellie Rowsell’s powerful belt carried through Grant Park with ease. “Yuk Foo” was a highlight, as Roswell yelled through a megaphone, bringing punk sensibilities to Grant Park.

Momma

I stumbled upon Momma’s set after leaving Wolf Alice, drawn to the guitar and vocals of the group. This was another pleasant discovery of the weekend, as Momma brought female-driven indie rock with moody bass and grungy melodies, particularly in the devotional “Tall Home.” The rhythmic breathing in “Bang Bang” makes the crude sound enchanting, and “I Want You (Fever)” is an alt-rock version of the same subject matter of Ariana Grande’s “break up with your girlfriend, I’m bored.” I like Momma’s version better. 

Spacey Jane

The band’s Lollapalooza debut, Spacey Jane proved that they’re only on the ascent. This Australia-based rock band brought staples like “Feeding the Family” and “Lie to Me” while infusing some songs from their 2026 EP “No Exit” like “Do You Really Love Her.” I only wish they played “Watch Me Break The News.” But Spacey Jane was such an enjoyable act, particularly because of bassist Peppa Lane’s infectious joy and stunning upper harmonies. I missed lesbian mud wrestling to watch this group, and I only mildly regretted it because of how good they were. 

Geese 

One of my favorite sets of the weekend, Geese are successfully beating the industry plant allegations one show at a time. Cameron Winter’s voice is even more transcendent and entirely unique in-person. The rest of the band, guitarist Emily Green, bassist Dominic DiGesu and drummer Max Bassin, also excel in delivering each gut-wrenching melody. As Winter croons on the yearning lyricism of “Au Pays Du Cocaine” and barks out the frank realism of “Taxes,” it’s easy to see why the band is beloved by performative males and pretentious music lovers alike, myself included. Although I didn’t realize it at the time, what felt like an impressive number of fans moshing in this pit seemed to be only a warmup for tomorrow’s Turnstile show.

I elected not to stay for a headliner Saturday night, as I heard the beginning of Olivia Dean’s set, but couldn’t persevere through the mud to stand the rest of the hour and a half. Such is Lolla. 

Sunday 

Easy Honey

Easy Honey started Sunday off right by delivering happy indie surf rock from South Carolina, reminiscent of other indie acts like Flipturn. Webster Austin’s harmonica and their use of many guitarists feeding off of one another’s energy set them apart from similar bands. While they rely on easily digestible indie rock aesthetics like house shows, cigarettes and black coffee, this just makes them a champion of the genre, and their synergy as a band was impressive. 

After 

I was delighted to discover After’s take on dreamlike, angsty pop rock. Their mystical songs felt like the soundtrack to a 2000s indie movie starring a young Elliot Page. The singer’s voices blended so well together and their energy was dynamic. 

MUNA 

This may have been my sixth time seeing MUNA live. I’m a massive fan of their music and generally enjoyed the album they released earlier this year, Dancing on the Wall. MUNA is made up of three seasoned performers who each bring their own special sauce to the table. Katie Gavin, the band’s lead singer, smartly delivers witty lyrics while strutting around the stage, hyping up the crowd and making it look easy. Josette Maskin on guitar is the steady hand keeping the band on track. Naomi McPhearson’s keyboard and production skills, as well as some impressive background vocals and a verse on “Silk Chiffon,” help bring it all together.

MUNA was able to generate enthusiasm for their newer songs like “Eastside Girls,” remarking that in Chicago since the water is on the east side it would be more like Westside girls here. The more subdued “So What” puts McPhearson’s production prowess and Gavin’s captivating performance on full display. MUNA also wasn’t afraid to get appropriately political, with McPhearson remarking, “Fuck Trump, Fuck ICE, Fuck US Imperialism” alongside their sexy social commentary in the form of their song “Big Stick.”

But the crowd was full of duds, as people looked at me like I had three heads when singing the chorus of “Silk Chiffon” or doing a twirl to “Number One Fan.” This was a massive error on the part of Lollapalooza’s organizers, as almost all of the people in my vicinity were actually there for Tate McRae. While I’m not saying MUNA didn’t deserve to play the main stage, they should have been put at Bud Light or another stage where the crowd could have matched their energy. 

Turnstile 

After my experience with the crowd at MUNA, I was beginning to lose faith in the vibe of Lollapalooza’s crowds. Luckily, the people at Turnstile completely changed my mind. Turnstile was one of my most anticipated sets of the weekend, as I’m originally from Maryland where the band originally formed, and I had heard about the band’s electric crowd culture. From the first note, the audience was enthralled by lead singer Brendan Yates. Tracks like “I CARE,” “NEVER ENOUGH” and “HOLIDAY” truly shined in a live setting. The band sounded just like their recorded versions, but I was somehow able to feel the songs on a whole new level. 

While a cynic might view moshing as nothing more than reckless fun, the crowd made Turnstile’s set an immersive experience, and I left the pit grinning, grateful to have experienced it. Even though the crowd was certainly hardcore, people were immensely respectful, checking on people who fell while crowdsurfing, returning lost possessions to security and minding the kids in the audience. I was comforted by the numerous other women around me in the pit as we all continually looked out for one another.

This show felt like what a metal show, or even all shows, should feel like. Listening back to the band’s distinctive drums and guitar melodies, even on a streaming service, now subconsciously brings a smile to my face. Looking back, Turnstile’s set was the highlight of my Lolla weekend.

Tate McRae 

Even though she mobilized an army of devoted fans, Tate McRae’s headlining set was largely underwhelming. While she can certainly sing and pull off impressive choreography, it felt like McRae’s biggest talent was just posing with a microphone near her face so she could be appropriately captured by the thousands of phones in the audience.

McRae, in my opinion, is truly the spiritual daughter of Britney Spears, with both the compliments and criticisms that come with this title. Her dancing ability exceeds almost every other pop star in the game, but McRae sacrifices authenticity and emotion with her carefully crafted sets. Even earworms like “Revolving door” and “TIT FOR TAT” didn’t feel particularly special in a festival setting, feeling almost too rehearsed and detached, unlike the performances from other high-production headliners on the same stage. McRae’s set, with one of its biggest moments featuring McRae dipping herself in gold and posing at the end of “Sports car,” felt like an anticlimactic end to the weekend. 

Lollapalooza’s 2026 edition proves why the festival remains a vital cultural touchstone. The artists booked at Lollapalooza are changing the landscape of music by acting as leaders in their genre. Certainly, clips from this year’s headliners reached new heights of virality, but the strength of this year’s undercard, especially the numerous rock bands on the lineup, is what really made the festival the communal, enjoyable experience that it was designed to be. Although I left the weekend a bit worse for wear, sporting a number of blisters from my rain boots and a persistent cough, I’ve emerged from Lollapalooza with a renewed love for the festival experience and an overwhelming appreciation for the herculean efforts that go into putting on an event of this scale.