Hinterland Music Festival | St. Charles

by marissa ding

The 2026 Hinterland Music Festival kicked off in the sticky summer heat of rural Iowa with a mix of genres, weather, and attendees that shifted over four days of performances.

On day one, festivalgoers sprinted in as soon as the festival gates opened, setting up an array of beach towels, inflatable cushions, and chairs on the hill overlooking the main stage. Parents and kids who came to see girl group KATSEYE camped out alongside diehard electroclash and indie rock fans from across the country. From opener Porch Light, with their emotionally charged, occasionally heavy rock sound, to hyperpop acts Frost Children and Jane Remover and unapologetic rap and pop artist Ashnikko, the variety of performances showcased the directions Hinterland has branched out into as it increases its scope.

Late in the afternoon, droplets began falling in the static air, and by the time KATSEYE played the first three songs of their set, rain was streaming down on the festival grounds. Four of the six members performed in the group’s first headlining show, bringing a dynamic, genuine energy that shone through the rain. Soft purple orbs bobbed throughout the crowd as fans waved lightsticks and chanted the lyrics to hit songs like “Touch.”

Cloudy skies ushered in day two of the festival, with shoegaze musician Wisp making her Hinterland debut and 2022 performer MUNA returning to the grounds with a high-energy, infectious performance featuring songs from their album Dancing On The Wall, released earlier this year, and older hits like “Silk Chiffon.” Themes of femininity and resistance threaded together acts with various aesthetics and lyrical styles. SOFIA ISELLA enthralled the audience with a gritty performance complete with violin-playing, heavy electronic distortions, and crowd-surfing. Right after, Paris Paloma floated around the stage, her hair and dress drifting in a soft breeze as she performed songs like “Miyazaki,” an anti-AI ballad. Paloma brought out Isella during feminist anthem “labour,” finishing her set amidst cheers from the crowd.

Artists who have captivated a range of generations took to the stage on day three, including CMAT, a rising musician from Ireland, whose lively performance and iconic “Very Sexy Band” showed the crowd the joy and power of loving oneself and one’s body. Following her set were veteran acts Santigold and The Format. Santigold has stayed true to a unique experimentation with genres for almost as long as some of her fellow Hinterland performers have been alive. An artist who has defied not only genres but boundaries for Black women in music throughout her career, she delivered a grounding, nourishing set, complete with stone-faced dancers and crowd members she brought up to the stage. The Format’s performance marked their first in the state in around two decades, with tracks about friendships and relationships delivered with an earnest energy. And headliner Mumford & Sons gathered a crowd that spread across the hill, basking in a show that harkened back to Hinterland’s past folk-leaning lineups.

The last day of the festival promised a run of many indie pop and rock lovers’ dreams and an introduction of Latin American musical acts to St. Charles. Details from lyrics to delivery to set design were not lost upon the crowd, illustrating the ways in which each act made their set a world of their own. Minneapolis-based artist Samia brought a soulful performance and intricate lyrics, followed by Suki Waterhouse’s sultry ballads and anatomical-heart-shaped disco ball.

Festivalgoers moshed to rock band Geese. They waved in unison at Latin trap artist Young Miko, enthralled by her stage presence and genuine interaction with and appreciation for her fans. They roared when the opening notes of tracks such as “Bnb” came on and gathered for R&B singer Kali Uchis. Uchis arrived on stage in a carriage and was enveloped in plumes as she opened with a segment of “telepatía.” The stage was covered in hues of pink, invoking a dreamlike feel in a performance that celebrated the divine feminine. Uchis performed Spanish and English hits from the past several years, closing the festival with a wondrous set.

Hinterland has evolved in size and booking direction over the past few years, but its friendly feel and welcoming attendee culture have remained the same. Fans looked out for each other in the heat, relaxed in the cooling tent, and shared mutual excitement for performers across genres and generations. Many artists mentioned that Hinterland was their first time playing in Iowa; hopefully, they stop by the countryside again.

 

TOP HIGHLIGHTS FROM TREEFORT MUSIC FEST 2026

by daniela shella

Happy Treefort! Treefort Music Fest is an incredible five day festival round up of global talent from around the world’s best acts. Based in Boise, Idaho, it completely takes over the city’s downtown center as well as a main stage festival grounds at Julia Davis Park. This was TMF’s 12th year, and biggest year yet. Unclear Magazine had the opportunity to spend the weekend bopping around from venue to venue enjoying music from across all different genres. Here are the highlights and some of my favorite shows we caught.

The Beaches

The Beaches swung Treefort and left everyone buzzing with excitement. Coined as “your rock ‘n’ roll sisters” (per their instagram bio) these gals took the stage and sang their hits, and the crowd screamed every word back. My favorite, “Last Girls At The Party,” kicked off their set and had everyone swaying. I was able to capture some portraits beforehand and say hello!

The Beaches have a super bright future ahead of them. They just won two Juno awards, one for Group of The Year, and will be performing at Billboard’s Women in Music event in Hollywood later this month. Also, you can catch them on their No Hard Feelings worldwide tour this upcoming fall!

 

Geese

All weekend, it was evident that Treefort fans were extremely excited to see the breakout sensation, Geese. When Saturday finally rolled around and the sun set, fans piled into Julia Davis Park to hear “Taxes”and “Getting Killed.” If you were me, you were having a religious experience to it and just basking in being surrounded by Cam Winter’s beautiful vocals and thousands of other strangers swaying to the beautiful music. Geese have the chops, and are on a totally special journey to the top of the indie music scene. What I feel like makes them special is the fact that they don’t feel overly polished or manufactured. There’s a scrappy, slightly chaotic energy to them that makes everything feel more real, like anything could happen in the next song. I enjoyed most of the Geese set from the crowd (their photo pit was insane and super locked down) but it was still an all around highlight of the festival!

 

Gelli Haha

Gelli Haha once again brought the incredible Gelliverse to Boise, Idaho for their second year at Treefort. It’s been such an honor watching them rise to fame and seeing their fan base grow. Bringing their entire collection of trampolines, inflatable dolphins, confetti, boxing gloves, and everything red you can think of, their 2026 show did not disappoint. All weekend, everyone was talking about making it to a Gelli Haha show.

I first saw Gelli Haha perform at the Neurolux in 2025, and it was delightful to watch them be upgraded to the largest venue downtown and absolutely pack the Treefort Music Hall to capacity with thousands of folks clamoring to witness their album Switcheroo in action. Gelli Haha just released a new song, “Klouds Will Carry Me To Sleep” which generated 100K Spotify plays in just one week, and 55K streams on YouTube after just a few days (I actually shot the album cover!!). And songs like “Bounce House” (my personal favorite) and “Normalize” have nearly 1M streams and counting. It was awesome to see the crowd already know the words to a brand new song, and a new addition to the project.

When you enter a Gelli Haha show, you can feel the crowd tapping into their childlike wonder. They aren't standing still and filming like you’d see all too often at music festivals. They are dancing, singing, jumping up and down like school kids. I think something that’s special about Gelli Haha is their ability to look so polished yet so playful. The entire set is perfectly choreographed and no one misses a beat. From the dancers hitting every beat of the song, to lead vocalist Angel's perfectly whimsical and beautiful vocals, to the drummers expert rhythms banging on, to the synth and keys orchestrating it all together. It’s one big, incredible and exciting performance art project that welcomes you with open arms. If you get a chance to witness the Gelliverse, do it.

 

Duckwrth

I caught up with Duckwrth before his set to discuss his new project and roll out, “I Wanna Be Your Dog Again.” It is Duckwrth’s latest single, and it’s a pretty bold departure from some of his earlier, more playful work he typically releases. It mixes aggression with vulnerability and the lyrics mention desire with lots of emotional tension, making it feel both chaotic and intimate at the same time. Duckwrth described building something he's passionate about, and has leaned into the performance art of it all.

It’s a continuation of the All American F*ckBoy era’s experimentation! Its immersive, layered vibe  gives the feeling you’re inside the track rather than just listening. The songs are clearly  meant to make you move, feel slightly unhinged, and get pulled into his immersive world.

 

Haute & Freddy

While they were on stage in Boise, Lady Gaga herself shouted this medieval pop duo out in a TikTok caption saying she’s been loving their new album and it has been the soundtrack to her birthday. It’s evident that Haute & Freddy are in their own lane of creativity and experimentation and have received lots of love on their new album, Big Disgrace. They took the stage late on Saturday and everyone was eager to sing along to their anthems about outcasts and FREAKS (Like their song, “Freaks”).

Their set was high energy and high paced. It was hard to believe it was just two people creating such fun music and vibes on stage! They have this runaway circus narrative that is so amazing, and awesome to see a musician not just create and perform a song, but also a cinematic universe they are existing in. By the time their top hit, “Dance The Pain Away” came on, every single person in the room took to the dance floor and came as one. I put my camera down, enjoyed the lyrics and sentiment of the song. It was a communally cathartic, beautiful experience and a true Treefort highlight.

 

Kishi Bashi

We met up with Kishi Bashi earlier before his set to discuss kicking off his tour. In a way, he is revisiting old feelings, old creative and artistic musings. Treefort was the first stop of his new tour, which features songs from his previous album, Sonderlust released in 2016. He told me he was excited to play the album in its entirety, front to back. Kishi Bashi’s sound blends string instruments front and center, beautiful and loving, whimsical lyrics and created a tight, high energy connection between the audience and the band.

His set was joyous and tender, a perfect example of how Treefort can make you feel.

 

Impossible to pick just a few favorite highlights, but other honorable mention highlights were Magdalena Bay’s headlining performance, INJI’s high energy set, running into Hemlocke Springs post incredible show, Minneapolis’ VIAL shutting down the Shrine basement, Drug Church seeing the most crowd surfing I’ve ever witnessed at a concert, and so many more. With 400 bands, and 13 different Forts, there was never a dull moment during Treefort.

 

Overall, the magic of Treefort is truly impossible to explain. People often try to explain it as a SXSW style festival, or a communal vibe similar to Bonnaroo, but this festival has a genre of its own. Its people are kind, welcoming and genuinely so excited to listen to music. Oftentimes festivals can be influencer-ridden, full of activations and big-box ideas. Treefort has been able to preserve its roots while still being progressive and growing in a welcoming, modern way.

Now my second time attending it, it felt like returning to a summer camp in a city where I once had no ties or connections to, I now have close friends and favorite music venues. I have friends that volunteer their time and energy to the festival because they so deeply believe in the mission of it, and it’s truly an honor to get to take part in this celebration. It’s evident that Treefort continues to level up and grow in such amazing ways each year. Not only are they able to pull in top acts, but they don’t just call it in when it comes to lineups. This year’s lineup featured so many up and coming artists of all genres, and Boise welcomed them with open arms. My only hope is that more people will start putting Treefort Music Fest on their yearly festival rotation and realize how incredible it is. Until next year, Treefort!