A stream of supermarket ponchos rippled across Sydney’s Centennial Park as crowds made their way to Laneway Festival under a sky that refused to make up its mind. The optimism was admirable as vintage, retro (hello ’90s) and cosplay looks held strong, apparently unbothered by what hours of rain might bring. And if Laneway has taught us anything, it’s that weather has never stopped play, or a tennis shoe.
While Laneway has long championed women and gender-diverse artists, in 2026 it truly flipped the script, putting women, queerness and unapologetic expression front and centre. It is truly a festival for all - all hair colours, all footwear choices and all hemlines, this year favouring anywhere from ‘short-short’ to mid-calf.
The Sydney edition felt busier than ever but there was still room to breathe in low-sensory spaces and pockets of calm with deckchairs to sit and eat a Belle’s Hot Chicken amid the chaos.
Now to the music. If the day belonged to anyone, it belonged to Chappell Roan. Not just because she headlined, but because she framed the entire day. Pink cowboy hats, custom lyric tees and full Chappell-esque glam were everywhere. By the time the lights illuminated the theatrical, gothic fairytale stage set, the crowd was absolutely HOT TO GO. If singing along with her on your morning commute feels good, try doing it with 20,000 fans who connect with the lyrics like they’re pages from their own journals. Opening with Super Graphic Ultra Modern Girl, the 16-song set flew by in a blur of hits and costume changes. Covering Heart’s Barracuda, Roan and her band proved once again they defy easy categorisation — as comfortable with the Wilson sisters’ riffs as with the ’50s stylings of Picture of You or the pop punch of Femininomenon.
Blazing the path to that moment was a day shaped by artists building momentum one song, dance move and keytar at a time.
Opening the Everything Ecstatic stage, Djanaba shouted to the soggy crowd, “Are you feeling sexy AF?!” — and whether they were or not, she soon had them dancing, bringing the club to the park with tracks like Don’t Really Care. Three-piece Blusher followed with joy-core tunes, synchronised moves and shared lead vocals. Fresh from their Triple J Like A Versionsession and ahead of touring with Kesha, they delivered a punchy cover of Your Love Is My Drug.
Over on the Hope Springs stage, Teen Jesus and the Jean Teasers unleashed riot grrrrl energy before playing a note, walking out to t.A.T.u.’s All The Things She Said. It was awesome to see them back on the festival circuit after opening for Pearl Jam’s stadium tour. Vocalist Anna Ryan brought each song to life with the intimacy of a pub yarn.
Cavetown was the first to fully embrace the main stage runway - and the rain, taking songs directly into the crowd. “You’re all so smiley and nice! Thank you!” they said, no doubt grateful for the cloud cover after battling Gold Coast heat just 24 hours earlier.
Gigi Perez was the first to stop people in their tracks. A special storyteller, her pitch and tone wrapped around the audience with lyrics full of love, loss and hope. Tender and powerful in equal measure, put her firmly on your side-shows list.
Citing Cocteau Twins as a key influence, the ethereal Wisp lit up the stage for a crowd of screaming fans. Wisp in stature only, she blended nu-gaze dreaminess with flashes of nu-metal weight. The result was unexpectedly magical, just like opener Pandora.
Representing old Americana road trips and campervans, Mt Joy were joy by name and nature. The five friends’ onstage fun translated easily to the crowd. Highlights included Astrovan and a clever mash-up of Bill Withers’ Ain’t No Sunshine with a lick of CeeLo Green’s Crazy. They were also joined by Gigi Perez for the haunting duet In The Middle.
Lucy Dacus delivered another singalong, often smiling quietly as the crowd echoed her lyrics back to her. Introducing a new song with “I don’t think you’ll know this,” someone yelled, “Challenge accepted!” already ready to commit it to memory. Another must-see, with a Sydney Opera House show on February 10.
If you closed your eyes during Geese’s set, you could have been in Palm Springs or the Joshua Tree desert heat. With the occasional waft of Mary Jane, the band brought a loose groove to mellow lyrics and art-rock vibe via keytar. Playing a smaller stage offered a chance to catch them up close before heading off on the European leg of their world tour.
Energy surged into the final furlong with Wet Leg. Noting the weather felt like a “glorious British summertime,” they launched into Catch My Fist. The crowd cheered every time Rhian Teasdale flexed her muscles. A tight, punchy set followed balancing melody, with Chaise Longue and indie favourite mangetout closing things out.
Wolf Alice was the surprise of the night, their set ranged from intimate moments to full-throttle thrash, showing they are equal parts Wolf and Alice. Powerful and absorbing, Ellie Rowsell commanded the stage without bells or whistles, her presence visible to the huge crowd across the five jumbo screens. Undeniable headline energy.
Thanks to Laneway, Triple J and everyone involved. As the crowd dispersed back into the city with heavy feet and light hearts there was only one question left, same time next year? You betcha.
Words: Hannah Lewis-Dalby
Images: Pete Dovgan
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