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.
