Foster The People performing at Saint Louis Music Park in St. Louis, MO on September 30, 2026. All photos taken by Michelle Zigler.
Edgehill | New York City
Edgehill performing at Bowery Ballroom in New York City on September 27, 2026. All photos taken by Janae Stewart.
Sawyer Hill | New York City
Sawyer Hill performing at Irving Plaza in New York City on September 29, 2026. All photos taken by Jessie Eshak.
Two Door Cinema Club | Philadelphia
Two Door Cinema Club performing at The Fillmore in Philadelphia, PA on September 26, 2026. All photos taken by AnnaMarie Otor.
Alice Phoebe Lou | Denver
Alice Phoebe Lou performing at Ogden Theatre at Summit in Denver, CO on September 23, 2026. All photos taken by Willow Clair.
Ryan Beatty | Minneapolis
Ryan Beatty (with support from girlsweetvoiced) performing at Varsity Theater in Minneapolis, MN on September 21, 2026. All photos taken by Marissa Ding.
Portola Music Festival | San Francisco
There’s a lot to highlight about this year’s Portola Music Festival, having outdone itself for the fifth year in a row. Portola weekend brought the best kind of every flavor for any kind of dance music fan — a 100% failproof ticket to what might have been your favorite show of the year. Whether you bought the ticket and want to relive your favorite sets or you missed one of San Francisco’s most coveted weekends of the year, here are some of our big highlights from Portola 2026:
WHAT WAS DONE RIGHT
There was a lot of things done right with the festival this year. Firstly, the attitude and expression of the audience didn’t wither through the weekend as we say eccentric outfits and dance moves full of expression at every corner despite the increasingly colder weather. But it all really started right at the entrance. Envision this: right after having entered festival grounds, a contagious rhythm echoes from the Warehouse stage, where heavy-impact production and sound is amplified in the hands of non-stop, back-to-back DJs. The 225,000 square foot space, able to hold up to 18,000 guests at once, left a safe, spacious option for guests to look forward to and an emphatic DJ set to attend. The stage featured some amazing sets from Tiesto, Four Tet, and Prospa throughout the weekend. Notably, festival-goers were abundantly eager to attend the returning Despacio tent, a nonstop 7-hour vinyl set where attendees could “trip the light” — so to speak — under a hypnotizing disco ball light production and an analog sound system made by James Murphy (LCD Soundsystem) and brothers David and Stephen Dewaele (Soulwax). Despacio alone may have garnered a lengthy line, but those in attendance said it was well worth the wait.
SATURDAY
To kick off Portola weekend on Saturday, Six Sex brought us a provocative femme-erotic latin techno-pop set, getting people moving and dialed in early on the intimate Ship Tent stage. Hometown hero of production, DJ Shadow was able to recover some of his original floppy disks to bring the 30th anniversary celebration of Endtroducing..... live to Portola. Another highly anticipated act among Saturday’s DJ duos, Fcukers, compounded the palpable energy among the crowd at the Pier stage before some veteran acts later on, moving along with the crowd to hits from their recently released album like “Play Me” and “Lonely.” Reeling it back for old time’s sake, Tove Lo gave crowds a throwback with some of her classics like “Habits (Stay High)” and “Talking Body.” Pop-veteran and queen of reinvention Robyn led some powerful sing-alongs with hits like “Dancing On My Own” and “With Every Heartbeat.” While day one was filled with plenty of fan-favorites, major anticipation for star-studded power duo Dog Blood had only been building throughout the evening — and they didn’t disappoint. Nine years after their last major live performance, EDM legends Skrillex and Boys Noize reunited on San Francisco’s Pier 80 to bring to Portola a feverish high-octane performance to end the night on the highest note — which includes (but is not limited to) dynamic pyrotechnics and light production to boggle the mind.
SUNDAY
It only gets better — Sunday’s lineup was equally electrifying, only contributing to the festival’s non-stop high energy renown. April Harper Grey made a big hometown appearance in the bay as underscores, having recently gained a larger online following with instant hit “The Peace” and also as an opener for Charli xcx on her Music, Fashion, Film Tour. Grey was also brought out as a guest alongside MGNA Crrrta during a set by Ninajirachi, who will be back in San Francisco come November after a small taste of the fun at Portola. As the evening of the second day began to show its truer colors, so too did internet sensation and longtime pop-princess Zara Larsson on the final festival show of her Midnight Sun Tour — that is, plenty of colors. Whether a new or old fan of the singer, or simply a curious stranger, Larsson’s Portola set had a little bit of something in it for everyone. A Zara Larsson show brings to the table a well choreographed production, a stellar wardrobe, and unmatched live vocals on some of the singer’s best known hits. Over the course of her tour, Larsson has managed to sustain a cult-following among pop fans and those with a knack for movement and vision (after all, the singer herself has a knack for both). For the final act of the Crane stage, Parcels took advantage with a beautifully done set including upbeat instrumentals that just made your worries wash away as each song led to another. And just as one may believe that day two’s lineup couldn’t get any better, the evening continued on a high with a headline set by Swedish House Mafia. The legendary Swedish trio brought the customary spark that seemed like all Portola goers were waiting for. You couldn’t helped but be awed and swayed by the set production, classic discography, and engagement by the group as the final coup de grâce for Portola.
When the final beats settled out over Pier 80, one thing was for sure: not a single inch of the festival was untouched by rhythm. Every corner of Portola thoroughly blanketed by sound, proving Portola’s identity that thrives in its curation from when the gates open to the very last encore. Whether you got caught up in the analog warmth of Despacio, singing along under the mainstage lights, or running to your next set through the cold, the festive weekend delivered on all of its promises. Portola being now five years in, they aren’t just maintaining their status as a staple on Pier 80, but a constant redefinition of what a premier dance festival can feel like. We were left with nothing but the feeling of exhausted fun and eagerly counting down the days till we get to do it all over again.
Words and photos by Evan Twiford
Taking Back Sunday | Wantagh
Taking Back Sunday performing at Bay Stage at Jones Beach in Wantagh, NY on September 24, 2026. All photos taken by Angel Moon.
Iron Blossom Festival | Richmond
Iron Blossom Festival featuring Angine de Poitrine, Geese, Dijon, Die Spitz, Portugal The. Man, Phantogram, LCD Soundsystem, Kevin Morby, Edgehill, The Stews, Evening Elephants, Victoryland in Richmond, VA on September 19 - 20, 2026. All photos taken by JoAnn Snavely.
Riot Fest | Chicago
No amount of rain and sludge could prevent this year's installment of Riot Fest from uniting artists and fans once again. The annual punk rock festival arrived in Chicago's Douglass Park to a frenzy of crowd surfing and muddy mosh pits over its three-day span.
This year's festival featured a number of local acts, making many performances a sort of homecoming, including those by Rise Against and Alkaline Trio. The lineup also featured a number of globally recognized headliners, with Twenty One Pilots and Tool claiming each day's closing slot. Between the very palpable buzz of energy among the crowds and the abundance of artist-specific merch and outfits, it was very clear that every fan had something they were eagerly looking forward to!
To kick off day one of the festival, I made my way to the Rebel stage for División Minúscula's performance. The Mexican band was an early pioneer of punk rock in Mexico, debuting their first album Extrañado Casa in 2001. There were clearly many hardcore fans in the crowd as they shouted back all the band's Spanish lyrics with true force. Following División Minúscula, I conveniently waited at the same stage for Radio Free Alice, an Australian band in the midst of a global tour ahead of their debut album, What's In Between, set to release at the end of October. I had the pleasure of speaking with the band later in the day as we discussed the album's inception and the numerous producers they worked with as it took shape. Not only are they brilliant songwriters experiencing a surge of momentum, but I also learned that they have an affinity for recording in studios with windows and are beginning the lifelong journey of raising a sourdough starter!
Among the plethora of food, merch and pop-up booths, this year marked an especially exciting moment for famed band Rise Against as they too claimed their own spot among the vendors. Their booth featured a number of artist artworks in addition to several original props from their “Ricochet” music video, many of which were being sold through a silent auction. Local to Chicago, Rise Against has performed and headlined Riot Fest many times over the years, though this marked the first time they had this level of physical presence throughout the entirety of the festival. Ahead of their evening performance at the Roots stage, I spoke with Brandon Barnes, the band's drummer, about their relationship with fellow Riot Fest performers and Chicago natives Alkaline Trio. The two groups have shared the stage for decades and recently released a split single ahead of their first tour together, a dream finally taking shape. Brandon and the band would go on to deliver a monstrous set in front of a roaring crowd that went ballistic for every track, including their closing hit, “Savior.”
Day two commenced with a trip to the Radical stage, where local band Aim High delivered an energetic and impassioned set. The group made special use of their time on stage by also capturing content as part of a music video in development. I caught up with the band hours later to discuss the video and their creative process as a whole. Caleb Brown, Aim High's lead vocalist and creator, shared that the band originated as a space for organic expression with members steadily joining over time. Halfway through the day's events, legendary Chicago meteorologist Tom Skilling took to the stage as the festival's esteemed guest. After a rousing round of applause, Tom shared that the impending rain expected to begin later in the evening had forced festival management to adjust the day's schedule. As the crowds scrambled to find the latest lineup, all activities resumed although with noticeably less spacing between artists and a substantially earlier ending time. Saturday's lineup was a testament to Riot Fest's diversity of subgenres and its inclusion of musicians outside the rock sphere. I saw Angine de Poitrine's captivating instrumentals, Sugar's raw vocals and Gogol Bordello's infectious intensity, with performances ranging from experimental and alternative rock to gypsy punk. I closed the night with a trip through the '90s and 2000s via Nas' throwback set where he merged classic hits with his own discography.
The overnight downpour turned Douglass Park into a mud pit as fans reclaimed their spot on the festival grounds, this time with ponchos and rain jackets in hand. As more people filtered in, the ground transformed from relatively sturdy mud into a slosh-like texture that devoured shoes, phones and anything in sight. These conditions, however, stood no chance against the indomitable human spirit present on the third and final day of Riot Fest, as very messy circle pits and crowd surfing could be seen at virtually every stage. While muddy, the day was also filled with critical political and social messaging. Canadian band Arm's Length spoke about Macklemore's advocacy for a free Palestine and both the opportunity and obligation artists have to use their platforms to call for justice. Patti Smith herself later picked up the torch as she and her band performed “Peaceable Kingdom,” a song written in 2003 addressing the conflict in Gaza. Patti spoke about the tragic nature of the track's enduring relevance as the situation in Gaza has persisted over the years as well as the continued importance of advocating for such causes. The crowd came together in unison for all of Patti's set and for the three-part test of endurance that is “Land.”
It's one thing to show up for music and another to do so with the level of passion exhibited at Riot Fest 2026. For many, including myself, the weather conditions have immortalized this event as a reminder of what it means to adopt an optimistic outlook and meet supposed setbacks with a smile. Riot Fest is already gearing up for its 2027 installment which is sure to bring another all-star lineup and, most importantly, a lovely community of bold, creative, music-loving people!
Words and photos by Lalo de Armas
MUNA | Nashville
Nashville’s heat wave might have (finally) been breaking on the day MUNA returned to Music City, but the band brought the heat right back with an electric performance at The Pinnacle on September 22nd, 2026. Touring their fourth album Dancing On The Wall, released in May of this year, Nashville was one of the early stops on a run of shows that will continue across the United States and Europe through November. The crowd at The Pinnacle was buzzing as doors opened, and the room quickly filled with the girls, gays, theys, and even some straight men (!) of Nashville.
To kick the night off, LA-based artist hemlocke springs pranced onstage, immediately bringing the energy as she danced, kicked, and strutted her way around. Adorned in glitter and sporting vibrant purple hair, she quickly got the crowd dancing right along with her as she performed high-energy selections from her discography, including hits like “girlfriend” and “be the girl!”
Soon after, it was time — the room went dark, the audience lost their minds, and MUNA took the stage to an electrifying chorus of screams and cheers. Lead singer Katie Gavin emerged in a gorgeous red set with white lace tights, alongside lead guitarist Josette Maskin and musician Lou Roy (filling in for band member Naomi McPherson on the beginning of tour).
The band opened the show with European dance-style banger “It Gets So Hot” (which also serves as the opener to their recent album). The lights pulsed to the beat as Gavin sang, danced, and looked out to the full room of MUNA fans who were passionately yelling every word back to her. The band went immediately into their album’s title track, followed by the pulsing “Wannabeher” as Gavin, Maskin, and Roy engaged with the crowd and each other.
The crowd was a sea of colored hair, beaded bracelets, homemade outfits, and bubbles (not sure where those came from, but the crowd was loving it). There wasn’t a person in the room that could resist moving, whether that was simply nodding their head to the beat or wildly whipping their hair around while jumping up and down. The band played almost every song from their new album, including “Eastside Girls” (in which Nashville gets mentioned by name in the bridge, to the delight of the crowd) and the political anthem “Big Stick” (allowing the audience to share in a collective moment of rage). Gavin even broke out her violin to play during “Why Do I Get A Good Feeling,” which was met by thunderous applause.
The acoustic section of the show featured beautiful acoustic performances of “Brother” and “Taken.” Gavin gave a special, emotional shoutout to Harriet, McPherson’s mother and the reason for their absence on this leg of the tour, speaking to the sense of family within the band.
The energy didn’t stay somber for long, though, as MUNA jumped back into bangers like “What I Want” and “Number One Fan.” For “Anything but Me,” the band was joined by Stacie — no, not a person, but rather an inflatable horse bounced around by the crowd for the duration of the song. Gavin gave a special shoutout to the audience for “doing amazing” as she spoke to her love for Nashville and the songs they’d written there.
“Buzzkiller,” which Gavin described as probably the saddest song on the album, closed out the main portion of the setlist with stunning vocals from Gavin, but it wasn’t long before the band was back on stage to perform audience favorites “Stayaway” and “I Know a Place.” The show ended on a high with “Silk Chiffon,” the band’s most popular song — and it was easy to see why, as the entire crowd danced and sang “life’s so fun, life’s so fun” with their hands in the air.
Gavin called these shows a “sacred space,” and that couldn’t have been more clear from my position in the crowd. I watched best friends grab hands and twirl one another, queer couples hold each other close and kiss under the dim lights, and strangers unite in their love for the beloved band before them. It was a night of unapologetic queer joy, where every person in the audience was unafraid to be themselves — knowing they were deeply loved by both the people on stage and those dancing around them.
If you’re ready to experience the magic of a MUNA show for yourself, you can learn more about the tour dates and tickets here!
Words and photos by Kayla Simon
Tame Impala | Houston
Tame Impala (with support from Dominic Fike) performing at Toyota Center in Houston, TX on September 20, 2026. All photos taken by Isaac Nunez.
ERRA | Columbus
ERRA (with support from Vianova, Chamber, and Resolve) performing at Newport Music Hall in Columbus, OH on September 19, 2026. All photos taken by Kayla Kreller.
Peach Pit | Atlanta
Peach Pit performing at Terminal West in Atlanta, GA on September 18, 2026. All photos taken by Emily Harman.
Eihwar | St. Louis
Eihwar performing at The Hawthorn in St. Louis, MO on September 18, 2026. All photos taken by Michelle Zigler.
Malcolm Todd | Philadelphia
Malcolm Todd performing at The Met in Philadelphia, PA on September 18, 2026. All photos taken by Callie Fitzgibbon.
Lunar Vacation | Tallahassee
Lunar Vacation performing at 926 Bar & Grill in Tallahassee, FL on September 16, 2026. All photos taken by April Anderson.
MOTHICA | St. Louis
MOTHICA performing at Off Broadway in St. Louis, MO on September 12, 2026. All photos taken by Michelle Zigler.
Weezer | Portland
Weezer (with support from The Shins and Silversun Pickups) performing at Moda Center in Portland, OR on September 11, 2026. All photos taken by Maddie Stellingwerf.
AC/DC | Winnipeg
Princess Auto Stadium was turned into one massive rock ’n’ roll show on September 20, 2026 as AC/DC brought their Power Up Tour to Winnipeg, with The Pretty Reckless opening the night.
The Pretty Reckless wasted no time getting the stadium ready for what was to come. Fronted by Taylor Momsen, the band delivered a tight, hitting set that brought plenty of energy to the stadium. Taylor for sure had fun hyping the crowd from one side to the other side. Having already made an impression on Winnipeg audience when they opened for Greta Van Fleet a few years ago, it was great to see The Pretty Reckless back in the city, this time sharing the stage with a legend of a band in the rock world.
Their continued appearances in Winnipeg also show just how much the band has grown in the city. After seeing the response they received tonight, it feels like The Pretty Reckless have reached the point where their next Winnipeg appearance should be a headliner. Possibly two shows at the Burton Cummings Theatre would make perfect sense, but with the reach they now have in the city, even a Canada Life Centre headline date with some well established openers doesn't feel out of the question.
When AC/DC finally hit the stage, the opening notes of “If You Want Blood (You’ve Got It)” immediately set the tone. From there, the band went straight into “Back in Black,” and the stadium erupted with singing, keeping the momentum rolling with “Demon Fire” and “Shot Down in Flames.” The set was a trip through AC/DC’s catalogue, balancing a few songs from Power Up material with the songs that have made the band one of the biggest names in rock.
“Thunderstruck” and of course “Highway to Hell” were obvious stadium sized highlights, while “Hells Bells” brought a darker change of pace before the band launched into “Shoot to Thrill.” The set continued with “Sin City,” “Jailbreak,” “Dirty Deeds Done Dirt Cheap,” “High Voltage,” and “Riff Raff,” giving longtime fans plenty to enjoy beyond the biggest staples.
The encore kept the night firmly in AC/DC territory with “T.N.T.,” with a massive firework show followed by “For Those About to Rock (We Salute You),” sending the crowd home with one final massive blast of confetti and a night to remember for sure classic rock.
For a band with more than five decades of history behind them, AC/DC’s Winnipeg show was a reminder that the band still have a massive impact, bringing in the new generation with fans in their early teens to even bringing back the older generation. For Winnipeg, the night also gave fans another look at The Pretty Reckless, which seems to be rapidly outgrowing the opening slot label. After seeing them here with Greta Van Fleet and now alongside AC/DC, the next time The Pretty Reckless come through Winnipeg, it may very well be their turn to headline. Also, this is a good chance for more stadium acts to finally head into the city. With the show being so put together for a pretty much close to a sold out show of over 40,000 fans, I can’t wait to see what next act plays at Princess Auto Stadium.
Words and photos by Mikey Jablonski