If you closed your eyes in 2026 and imagined the perfect pop festival, platforming the most potent female artists of the time and crowned by a medieval queen, there's no doubt you'd envision Laneway Festival.
The buzz around Chappell Roan's headlining spot was evident throughout the crowd, inspiring outfits and accessories including pink cowboy hats, boots, and bedazzled fans (14 February).
Some punters went the extra mile in full drag, with auburn wigs down to their ankles and corsets that would have taken hours to create. However, there were plenty of other styles to see, from indie casual to leather-clad industrial punks, and club kids galore.
The crowd also drew from a broader age demographic than previous years. It was still overwhelmingly youthful, but enough mature attendees that I didn't stick out as an outlier.
Image © Ciara Henshaw
It wasn't really a surprise, as the stacked programme was created to lure an eclectic crowd, and there was plenty of musical goodness to come before the sun set.
Teen Jesus and the Jean Teasers were the best way to kick off the day, bringing their riot grrl, rock energy to the Everything Ecstatic stage. A decade in and they have their stage presence on lock.
The band are solid, and clearly love playing together, and frontwoman Anna Ryan bounced around the stage with a huge, cheeky smile and positive attitude that was reflected right back at her as the crowd roared.
Set highlights 'I Love You' and 'Girl Sports' received huge reactions from the crowd.
Teen Jesus and the Jean Teasers - image © Ciara Henshaw
Gigi Perez's mid-afternoon set drew a big crowd unperturbed by the blistering sun. Arriving to stage as she played 'Sleeping', I was immediately captivated by her voice, which was pitch perfect throughout the show, ranging from deep country-infused twang to ethereal high notes.
Perez's little sister, Bella, joined her onstage for 'Sugar Water', adding gorgeous harmonies to the track, and as the first notes of set closer, 'Sailor Song', rang out, the crowd cheers became a roar, followed by the audience singing note for note. A beautiful way to end a memorable performance.
The festival's shift to Adelaide Showground (having been held at Bonython Park for the past three years) was a good decision, giving the crowd more room to move, and allowing discrete space for food trucks between stages without queues choking walkways.
Gigi Perez - image © Ciara Henshaw
The Everything Ecstatic tent created a club and party vibe throughout the day and relief from the sun, while the main stages, Good Better Best and Never Let It Rest, were ready for crowds in the main arena.
Despite intending to stick around for Mt. Joy's performance, which started with the type of positive energy that befits their name, the unrelenting heat of the main arena had me searching for shade and heading back to the Everything Ecstatic tent to see French singer and producer Marylou Mayniel, also known as Oklou.
In a nod to trip-hop and cinematic chill, Mayniel's AutoTune processed, airy vocals overlay ambient soundscapes with super-slow builds as she gently moved around the stage.
It's the type of sound that needs a tightly controlled sound mix, but in a festival setting with chatter and external noises, I found it hard to stay engaged, deciding to add Oklou to my chill playlist for home, and seek something with more energy.
Oklou - image © Ciara Henshaw
The festival programmers had decided to give everyone a mid-afternoon chill whether we wanted it or not. Returning to the main stage, Alex G was playing a relaxed set of lo-fi indie rock classics to a healthy crowd.
It was time to get the message and sit down for a bit, grabbing a bite to eat and savouring the shade of the grandstand.
To be honest, it was just as well we got an enforced break, because The Dare (Harrison Patrick Smith) was ready to turn up the heat, and have a heap of fun.
As he bounced onstage in a suit, tie and sunglasses, Smith set the music rolling and proceeded to sing, swagger and thrash about the stage, giving it all and getting it right back from the crowd.
The silly, cheeky mix of trashy industrial disco is reminiscent of LCD Soundsystem, with a heavy dose of sleaze added into the mix. Smith rolls with it, stepping into the persona and whipping the crowd into a frenzy, particularly during 'Girls', which is shouted out word for word. It was a lesson in not taking yourself too seriously and getting lost in the beat – the perfect energy hit.
The Dare - image © Ciara Henshaw
After an hour of all-encompassing sleaze and moving to Role Model's clean-cut sweetness was quite a jolt, but Tucker Harrington Pillsbury's lovely voice and friendly persona smoothed things out quickly as he entranced the predominantly female legion of fans.
'Old Recliners' and 'Some Protector' gave a lovely, quiet interlude, before 'Sally, When The Wine Runs Out' had everyone excited as we awaited the reveal of special Valentine's Day guest, Lucy Dacus, to the stage, dancing with a rose between her teeth.
After catching that one-off festival moment, much of the crowd departed quickly to see PinkPanthress.
There has been some criticism of the decision to keep such a drawcard artist in the tent rather than move her to the main stage.
Role Model - image © Ciara Henshaw
Yes, the space was jam packed, but the setting was right, creating the vibe of a club rather than a stadium.
Joining Pink on stage were two dancers, who she sometimes joined in unison, but at other times steps away, leaving them to dance alone while she sang to the crowd.
Performing a blistering set that ran through 16 tracks, Pink's sweet vocals and catchy beats, leaning into drum & bass grooves, had the tent moving in unison.
Wrapping the set with 'Illegal', it was no surprise she had everyone eating out of the palm of her hand.
Wet Leg - image © Ciara Henshaw
It's the juggle of a festival experience that you don't catch the entirety of every act, and seeing half of Wet Leg was the compromise I made; arriving to see frontwoman, Rhian Teasdale, in full power, prowling the stage and exuding confidence.
'Pillow Talk' and 'CPR' highlighted Hester Chambers' super catchy grunge guitar riffs that have won Wet Leg a huge audience of fans. 'Mange Tout' was a fitting finale, leaving me wishing I'd been able to split myself in two and see more of what they had to offer.
Moving from one female powerhouse to another, I was excited to see Wolf Alice playing songs from new album 'The Clearing' and, despite knowing that much of the crowd would be shuffling to secure a spot for Chappell Roan's headline set, was surprised to find an easy spot close to the front.
A sparkly backdrop sporting a huge star set the tone for the rock-star disco that we were about to experience. Opening with catchy new hit, 'Bloom Baby Bloom', the band were in fine form pumping out solid riffs, with Ellie Rowsell switching from sassy sweetness to a roar. Attention captured, the crowd quickly realised they weren't simply a warmup for the headliner.
A set that checked off songs from across their albums, Wolf Alice's new tracks held up nicely amongst favourites. 'How Can I Make It OK?' created a beautiful, gentle moment while 'Yuk Foo' hyped things up to a crazed punk energy with Rowsell screaming into the mic and a megaphone as chaos ensued.
Wolf Alice - image © Ciara Henshaw
After closing with 'The Last Man On Earth' and 'Don't Delete The Kisses', there's no doubt they would have garnered many new fans, as well as solidifying their place in the hearts of those who have tracked them from the start.
As the cheers faded, in a strange moment the crowd took a collective breath and moved ten metres to the left, towards the magnificent set created for the Midwest Princess herself, Chappell Roan.
A gothic masterpiece of a castle with two levels and multiple gates, straight out of a pop-up fairytale book, was ready to play host to the Visions Of Damsels & Other Dangerous Things performance.
The crowd started screaming as the band began to play, amid smoke haze and visions of a storybook and dragons on screen. Then: "You know what they say, never waste a Friday night on a first date," as Roan appeared atop a staircase in a whimsical, pink princess dress complete with a coned hat, with every word of 'Super Graphic Ultra Modern Girl' chiming back her from the audience.
If, like me and so many others in the crowd, you've spent hours watching Chappell Roan online, it was like a dream come true. Immediately engaging, working the stage at every corner and pitch perfect, she was everything we'd hoped for and more.
Image © Ciara Henshaw
Each note rung out from her fantastic and energetic band was met with joyous cheers, as the vibes kept high for 'Femininomenon', 'After Midnight' and 'Naked In Manhattan' before moving into ballad territory with 'Casual' and 'The Subway', and a sing-along of "she got a way," lifting the crowd to a whole new level.
'Hot To Go!' launched us back into a synchronised dance party before the growl of 'Barracuda'. After a stage reset to add a scattering of candles, Roan stepped out for the gentle sentiment of 'Picture You', serenading a wig-covered microphone stand, before dipping into earlier career track, 'Love Me Anyway' and the catchy beat of 'The Giver'.
There wasn't a moment that the crowd didn't sing-along, proving this superstar was the one to 'get the job done'. I could write an entire essay on Chappell Roan's stagecraft and pitch, with each arm flourish, jump, squat and high kick on point and every glance a wink to the crowd, taking us with her for the ride.
While I didn't want to write this review as a set list, it's impossible, because the hits kept coming with 'Red Wine Supernova' followed by 'Coffee', 'Good Luck, Babe!', and, personal favourite, 'My Kink Is Karma' before sending us away with a joyous and all-encompassing rendition of 'Pink Pony Club' that'll be ringing in my ears forever.
Once again, Laneway pulled together an exceptional blend of emerging artists and superstars that crossed genres and style. It's a formula that keeps the festival relevant and interesting, but an impressively high bar to keep meeting each year. So far, they're smashing it. Bring on 2027.
