Rock en Seine @ Domaine National de Saint Cloud - Paris, France
August 26th-30th 2026: Rock en Seine @ Domaine National de Saint Cloud - Paris, France
Sombr - Photos Courtesy of: Manon Pothin
Rock en Seine, one of France’s most famous festivals, took place from August 26th to August 30th for yet another memorable edition. Over the span of five days, 175,000 festivalgoers gathered to the grounds of Domaine de Saint Cloud for over 70 artists spanning different genres.
Day 1 - 26th August 2026
The first day of the festival may have started with a smaller lineup, having only five artists spread across two of the stages; it started with a bang nonetheless.
French artist Miki kicked off the festivities on the main stage, with her electro-pop sounds and an impressive set design consisting of a giant scorpion. Her stage presence was undeniable, making sure she possessed the entire catwalk and up the barricades. One unforgettable moment was her standing in the middle of the crowd to perform her song “Particule,” as fans ran in circles around her. She ended her set accompanied by her own Spider-Man, announcing her headline show at Le Zénith de Paris next November.
Ravyn Lenae then took over the main stage, bringing a different, but just as mesmerising, energy. With scaffolding on stage, Ravyn was captivating as she performed songs like “In & Out” or her massive hit “Love Me Not.” On the festival’s other stage, people got to watch French Quarter AMG, R&B artist Magi Merlin, or Sekou’s soul sounds. To make the day even better, JAIN made a surprise appearance for two performances during which she interpreted songs off her next album.
Transforming the main stage into New York, the new sensation Sombr performed for a little over an hour to dedicated fans. Many lucky ones even got to share a special moment with the artist, as he walked down the barricade to hug as many people as he could and even took the time to doodle a tattoo for a fan.
It was finally turn for Tyler The Creator’s performance. With pyrotechnics and amazing stage presence, the artist closed the day with a massive bang, leaving fans in awe.
Day 2 - 27th August 2026
Thursday started well with the Irish rising sensation Florence Road, who previously opened for Wolf Alice. The band drew a crowd on the main stage despite being the first performers of the day, getting everyone to dance and sing along, whether they were longtime fans or just discovering them. On the other stages, fans had to choose between Jean Dawson’s experimental pop and Changeline’s hyperpop.
Just as Noga Erez stepped on the main stage, the weather then took a turn with a massive downpour. No amount of rain would stop the dedicated fans from showing up: the festival’s grounds soon became a sea of umbrellas, people wearing raincoats and trash bags alike to brave the weather—a true festival experience, after all.
By the time DJO came onstage, the rain had died down, and the energy was as high as ever. The Stranger Things actor closed off his performance with his hit song “The End of Beginning” just as the sun set, creating a perfect moment for his fans.
All the way across the festival was the performance of Sam Quealy, a techno-pop artist from Australia. Mixing the aesthetics of 2000s pop and drag performances, the singer gave an electrifying show along with her dancers, one you could not take your eyes away from.
Finally, it was time for Lorde’s performance. Just a few months after her headline show in the French capital, the singer was as great as ever as she performed songs from her first and last albums alike, to the cheers of the crowd.
Day 3 - 28th August 2026
The last-minute cancellation of CMAT’s performance due to illness did not tarnish the day as the Irish band Kingfishr took over at the main stage. Kingfishr, who released their first album a year ago, already proved themselves ready to take on huge crowds. Eddie Keough, the lead singer, immediately connected with the public, walking along the barricade and sharing handshakes with them during “I Cried, I Wept.”
Further away across the festival, Biffy Clyro stepped on the Boursobank stage for their performance. The Scottish band, formed back in 1995 and a staple in rock music, delivered a powerful show to an ecstatic crowd.
Back on the main stage, it was then time for Wet Leg to take over. Lead singer Rhian Teasdale’s stage presence is no joke, capturing the entire crowd’s attention the minute she appeared from the fog. Despite a slow start, the hype only got better, especially as they performed their hit “Wet Dream,” from their eponymous first album. Soon enough, it seemed like the entire festival was here to watch their show. To make things even better, multiple sign language interpreters were present on stage, rendering the show accessible for everyone.
The Black Keys took their place shortly after, accompanied by four other musicians. The blues band captivated the audience, with a setlist ranging from their hit song “Lonely Boy” to covers from The Strooges or Willie Griffin.
Away from the main stage, Franz Ferdinand performed to a crowd of dedicated fans, many brandishing signs showcasing their love. With a theatrical entrance and an energetic, bouncy performance, the band put on an incredible show.
Tucked away on the smaller stage, TTSSFU, whose real name Tasmin Nicole Stephens, performed her shoegaze and dreampop songs. Despite a timid start to her set, the singer rapidly gained confidence thanks to an encouraging and cheerful crowd.
Finally, the main event of the day came on stage: Nick Cave and the Bad Seeds. The legendary singer chose Rock en Seine as the closing show of his long tour, and what better place than with the dedicated French fans?
Day 4 - 29th August 2026
If one thing’s for sure, it’s that Saturday was placed under the sign of mosh pits.
Starting with Mannequin Pussy under the rain, the energy only got higher and higher throughout the day. French metal band Novelists played on the Boursobank stage. Stepping on stage with a bright pink corset and glittery makeup, lead singer Camille Contreras’s stage presence is no joke as she delivers powerful vocals. Between the pyrotechnics and the surprise appearance of Landmvrks’s lead singer, their set was nothing short of memorable.
Back on the main stage, the Lambrini Girls left a huge impression at Rock en Seine. Using their platform to denounce the rise of fascism, the band reminded everyone what punk truly means. Soon enough, several mosh pits and walls of death took place in the muddy grounds of Saint-Cloud, truly setting the tone of the day.
After the lead singer’s brief appearance with the Novelists, it was Landmvrks’ time to shine on the big stage. The tone was set before they even stepped on, with two giant statues positioned on each side of the stage. Mixing impressive visuals on the screen and a use of pyrotechnics, the French band gave a powerful show. They ended their set by announcing they would be opening for Papa Roach for their show in France, rejoicing metal fans.
Three years after their last performance at Rock en Seine, Amyl & the Sniffers came back, on the main stage this time. Lead singer Amy Taylor owned the stage, never once stopping for a break and delivering a performance worthy of riot grrrl predecessors.
Before Deftones’s performance, it felt like most of the festival showed up for the sensational Turnstile. Almost a year after their sold-out headline show in the French capital, fans were impatiently waiting for the band’s performance, from grown men to small kids. As soon as the place lit up with their trademark colourful screen, the excitement was all over the place, and soon enough the place was filled with crowdsurfers and mosh pits.
Day 5 - 30th August 2026
Sunday was without a doubt the longest-awaited day of Rock en Seine. With tickets sold out months in advance, the place was filled with people brandishing merch T-shirts for the festival’s main event: The Cure. With hours to go before the show, though, people had an array of choices and plenty of artists to see.
Just a day before his own headline show at Le Point Ephemere, Love Spells made a quick stop at the festival. Breaking into splits just as he got on stage, the dream pop American singer delivered a captivating performance, with impeccable stage presence and great engagement with the public. From his real name, Sir Taegen C’aion Harris, Love Spells has everything needed to make it big.
Slowdive, considered veterans of the shoegaze genre, performed on the main stage before being replaced by Interpol.
As the day went on, the main stage started filling up in anticipation of The Cure, and when it was finally time for the band to step on stage, the place was buzzing with anticipation. Finally, the British rock giants arrived to the cheers of the entire place. Robert Smith took his time at the beginning of the set, walking from one end of the stage to another—it seemed as though the singer was locking eyes with every one of his fans, demonstrating a shy but grateful entrance. The Cure then went on to perform for over two hours and close to 30 songs, ending the 2026 edition of the festival on a wonderful note.
All in all, Rock en Seine’s 2026 edition once again proved why the festival has become such a staple. Despite the bad weather, fans and performers alike showed up and created five days full of impeccable ambience and great memories.
Motionless in White @ The Zoo Amphitheatre - Oklahoma City, OK
August 11th 2026: Motionless in White, Lorna Shore, Fit For a King @ The Zoo Amphitheare - Oklahoma City, OK
Motionless in White | Photos Courtesy of: Ally Arens
Heavy music veterans Motionless in White are in the midst of the first leg of their Sweat and Blood tour across North America, bringing their theatricality and energy to stages across the country alongside fellow heavyweights Lorna Shore, Fit For a King, and Static Dress. When the tour came through Oklahoma City’s Zoo Amphitheatre for Motionless’ largest headliner in the city yet, they emphasized the “sweat” of “sweat and blood” by playing on an outdoor stage in the midst of a several-day 100+ degree day heatwave, but that didn’t stop fans from showing up in droves and making the show memorable for all in attendance.
First to take the stage, a half-hour earlier than originally scheduled, was Static Dress. Hailing from the UK, the band, fronted by vocalist Olli Appleyard, got the crowd amped up with tracks such as “Nostalgia Kills,” “...hospice,” and “human props.” Though I was not super familiar with them before the show, I thought they set the tone for the evening very nicely and look forward to seeing what’s next.
Next up was Fit For a King, who absolutely scorched the already scorching stages as they launched their set with “Backbreaker” and recent single “Blood Pact,” followed by the melodic, anthemic “Begin the Sacrifice.” Between vocalist Ryan Kirby’s powerful vocals and bassist Tuck O’Leary’s constant jumping and guitar-spinning, their performance was extremely captivating. Having seen FFAK once before with Motionless on the Dark Horizon tour back in 2023, I can confidently say that both bands were outstanding then and have only gotten better since.
The final support act was probably one of the buzziest heavy bands of late, Lorna Shore, fronted by the enigmatic Will Ramos. The crowd got hyped as soon as the first riffs of “To The Hellfire” rang through the amphitheatre, and did not let up for the entirety of their 45-minute set. Though Ramos’ intense growls are not for the faint of heart, they certainly captured the crowd’s attention, and I can understand why fans of more hardcore music have been gravitating towards them, even if it’s not necessarily what I would personally go out of my way to reach for.
At long last, just before 9 p.m., the sun had finally set, offering some temperature relief - though this would not last far into Motionless’s set, as their ample pyrotechnics heated things back up. Launching with “Sign of Life” from 2024’s Scoring the End of the World, Chris Motionless and co. brought their unmistakable energy that fans old and new have come to love over the band’s 20-year career, and did not slow down once. Going into the evening, I would be lying if I hadn’t been concerned about the concert possibly having to be postponed after hearing of a shortened setlist due to Chris feeling ill at their Utah show on August 7. If I hadn’t seen chatter of that beforehand, though, I wouldn’t have known anything different, as the entire band sounded nothing short of phenomenal.
As the band recently dropped their latest album Decades, and have been reflecting on their beginnings to now, their whopping 19-track setlist was an amazing mixture of old & new, going all the way back to “Abigail” from their debut full-length to newest singles “Afraid of the Dark,” “Playing God,” and “R.I.P,” along with their devilishly fun cover of “Sunglasses at Night.” As someone who has now seen Motionless in White live four times, I can say with confidence that there is no one out there putting on a show quite like them. From vocals that can go from vicious to soothingly melodic in a second, ripping guitars and drums, along with stunning choreography from the Cherry Bombs, the current MIW stage show is a truly unique and wonderful sight to behold.
Though leg one of the Sweat and Blood tour has concluded, leg two picks up just before Halloween in Worcester, MA. All upcoming shows can be found on Motionless’ website, and check out Decades wherever you get your music.
Lorna Shore
Fit For a King
Hilary Duff @ The Mann Center - Philadelphia, PA
August 9th 2026: Hilary Duff @ The Mann Center - Philadelphia, PA
Hilary Duff | Photos Courtesy of: Carolyn Lederach
A Millennial’s Dream would be the best way to describe the Hilary Duff concert experience. Arriving at the show, the crowd was full of superfans dressed in classic 90’s looks and costumed characters spanning Duff’s film and TV career. In a way, the show felt like a reunion (and I’m not just saying that, as I know the majority of the ladies I've known throughout my life were in attendance). Welcoming us to a cosy, pink-carpeted stage, filled with comforting neon glows, cityscapes, and sparkles, Hilary took the stage to the eager screams of fans awaiting her return to the spotlight. Even though this Lucky Me tour highlighted her return to music in support of her latest album, Hilary did not leave out the songs that we all know and love from our childhoods. There was something extremely comforting about this show that I haven’t felt in a while. Between the clips of Hilary highlighting her family and snippets of her growing up on TV, her kids running out to hug her at the end of the set, and the Citywide and vintage Aaron Carter t-shirt. The show just felt like a warm hug, reminding us of the better times of the 90’s/early 00’s
Setlist
Wake Up (With extended intro and elements of "Mature")
So Yesterday
Roommates
Weather for Tennis
The Math
Breathe In. Breathe Out.
Sparks (Shortened)
Future Tripping
With Love (with excerpts of "Dreamer")
Beat of My Heart
You, from the Honeymoon
Anywhere but Here
Growing Up
Fly (Extended Intro)
Holiday Party
We Don't Talk
Why Not
Adult Size Medium
Come Clean
Mature
What Dreams Are Made Of
5 Seconds of Summer @ Freedom Mortgage Pavilion - Camden, NJ
August 8th 2026: 5 Seconds of Summer, The Band Camino @ Freedom Mortgage Pavilion - Camden, NJ
5 Seconds of Summer | Photos Courtesy of: Carolyn Lederach
The Band Camino
Tame Impala @ Xfinity Mobile Arena - Philadelphia, PA
July 15th 2026: Tame Impala, Djo @ Xfinity Mobile Arena - Philadelphia, PA
Tame Impala | Photos Courtesy of: Carolyn Lederach
For the first time since 2022, Tame Impala returned to Philly’s Xfinity Mobile Arena on July 11th 2026. Taking up 2 stages in the centre of the arena, the massive room was packed and full of one of the best light, laser, and strobe shows I’ve ever witnessed. Opening the show was none other than the star from the “Loser” music video, Joe Keery (aka Djo). Coming off his worldwide tour over the last year in support of his latest album. The Tame Impala setlist did not disappoint for fans new and old; there was a bit of everything. Including some fun bits like the solo B stage set by Kevin. Encased with a single overhead light at times that seemed like an alien abduction in a living room, Kevin performed “Ethereal Connection” and “Not My World”. There was also a brief intermission where the camera followed Kevin off stage, then backstage to take a leak (yes, he did wash his hands) before returning to perform the remainder of the set.
Setlist
Apocalypse Dreams
Deadbeat Jam
Borderline
Loser
Breathe Deeper
Gossip
Elephant
Afterthought
Feels Like We Only Go Backwards
Dracula
No Reply
(Instrumental)
Stage B
Ethereal Connection
Not My World
Main Stage
Let It Happen
Nangs
Alter Ego
Yes I'm Changing
Eventually
New Person, Same Old Mistakes
Encore:
My Old Ways
The Less I Know the Better
End of Summer
Djo
Jack Harlow @ Andrew J. Brady Music Center - Cincinnati, Ohio
Jack Harlow | Photos Courtesy of Asia Austin
August 13th 2026: Jack Harlow @ Andrew J. Brady Music Center - Cincinnati, OH
Jack Harlow | Photos Courtesy of: Asia Austin
On August 13, 2026, Jack Harlow performed at the Andrew J. Brady Music Center in Cincinnati, OH. His ‘Monica Tour’ has been in full swing, and with it being his first album tour in four years, Harlow proved he’s better than ever. Opening the show with fan favorites from his Monica album such as “Prague”, “Trade Places”, and “Lonesome”, Harlow delivered a very charismatic and crowd-focused performance that showed confidence and warmth towards his fans.
With the help of his openers, Clockwork DJ and James Savage, Harlow proves that he’s able to carry an arena while also making personal connections that can be felt in the back of the room. His banter with the fans is disarmingly funny and is filled with easygoing relatability. And while showcasing he’s been all around the world, he manages to stay grounded by extending love and gratitude to his hometown of Louisville, KY.
The set mixes his biggest radio hits like “What’s Poppin”, “Industry Baby”, and “First Class” while also sprinkling in songs that are sacred to his true fans such as “Sundown”, “Warsaw” and “Ghost”. The production included a very simplistic stage setup with backup singers and a live band that allowed Harlow to deliver his infectious vocals and melodies at ease. There is no doubt that the fans were left buzzing, and Jack Harlow put on a show that easily matches his growing stature in both R&B and Hip-Hop.
James Savage
Tori Amos @ The Louisville Palace - Louisville, KY
Tori Amos | Photos courtesy of: Emily May
Beloved singer/songwriter/pianist/composer Tori Amos brought her In Times Of Dragons US Tour to The Louisville Palace on August 10th to a (what appeared to be) nearly sold-out crowd, touring in support of her recently released 18th studio album In Times Of Dragons. Seeing a long line of fans excitedly waiting outside for the doors to open this evening let me know I was in for a fun night! As the lights dimmed, alerting the crowd that Tori’s set was about to start, the crowd, restless for her to come out, celebrated in a roar of cheers and applause. Tori came out onto the stage, hands clasped and bowing to her fans, before sitting down on her piano bench. She sat with her piano in front of her and an electric keyboard behind her, switching between the two at several points throughout the evening. Early in the set, she let it be known that it was her longtime touring bassist Jon Evan’s birthday, which earned him cheers and applause from the crowd! She also has three backup singers with her on this tour, creating some beautiful harmonies!
Although many artists tour with the same set list every night, Tori plays a different one each night, leaving the fans to anticipate what she might play! No matter what the set list is, though, you can be guaranteed an incredible live experience. She plays the piano and sings like the musical prodigy that she is, with her set this evening being nothing short of mesmerising. Starting out the set with “Fire To Your Plain”, she and her band performed several songs this evening from the new album, including “Shush”, “Stronger Together”, and “In Times of Dragons”. Much to the crowd’s delight, she also performed some of her cherished classics, including “Winter” (I got a little teary-eyed hearing this live, as it’s always been one of my favorites), “Silent All These Years”, and “Precious Things”, with “Precious Things” signalling the end of the pre-encore set.
After briefly leaving the stage, Tori and her band came back out for their encore to a roar of applause! Starting the set off with “Cornflake Girl”, there was a brief pause in music for a birthday cake to be brought out for Jon Evans, with Tori leading the crowd in singing “Happy Birthday To You”. They then performed a cover of Solomon Linda’s original Evening Bird’s cover of “The Lion Sleeps Tonight” (the first time she’s played it live since 2014) and brought the evening to a close with “Pretty Good Year”. The evening was magical and full of a beautiful energy from the crowd, who clearly adore Tori and were having the best time hearing her perform. As a side note, whoever did Tori’s lighting deserves an award! It was stunning through her entire set, bathing her and her band in a kaleidoscope of colors. Baltimore indie-rock artist Bartees Strange opened the show this evening. Despite some early technical difficulties, he and the crowd took it all in stride, and he performed a great set that got the crowd warmed up for the evening.
Bartees Strange
Eaux Claires Festival @ Carson Park - Eau Claire, WI
July 24th-25th 2026: Eaux Claires @ Carson Park - Eau Claire, WI
BON - Photos Courtesy of: Lesley Keller, additional Bon Dylan photos courtesy of: Graham Tolbert
Day 1 - July 24th, 2026
I remember the first thought that popped into my head when Eaux Claires announced its return after a long 8-year hiatus: Michael Perry’s booming voice from 2015 echoing with “For what are we but a confluence – a confluence that lives and breathes, a confluence of dream and song, a confluence of 22,000 beating hearts.” While this year’s fest has moved into its new digs at Carson Park - a smaller venue with baseball fields and a football field donning the rigging of stages and flooring for the weekend - some of those 22,000 beating hearts that held out hope all these years that Eaux Claires wasn’t officially over made their return to the river, myself included. Fueled by the promise of what might unfold and resting on the backs of the past year’s magic and the trust in what would be another magical experience.
Friday’s festivities began around noon with Bizhiki - a trio consisting of Ojibwe powwow singers Dylan Bizhikiins Jennings and Joe Rainey, and singer/songwriter/multi-instrumentalist S. Carey on drums/vocals, plus additional guitar duties held down by Jeremy Ylvisaker, keys from Ben Lester, bass from Steve Garrington and saxophone from Mike Lewis. The core trio initially caught my attention during a quick trip up to Grand Marais, MN. During that performance, they debuted a song called “Nashke!” that I vividly remember messaging them about afterwards because I was dying to hear it again. At the time, the song didn’t have any firm plans for public release, but the thoughtfulness of that collaboration stuck in my mind, and I knew I needed to hear more as soon as I could. I have since followed their upward trajectory, including an incredible performance from Joe in NYC that I was lucky enough to attend. Here at Eaux Claires, they brought that same spirit of collaboration and positivity to open this year’s fest. Complete with a festival blessing from Dylan and traditional powwow dancers onstage, the three traded off on vocal duties throughout the performance and ended with a traditional Friendship Dance, which saw all of the crowd-goers becoming fast friends by joining hands and dancing together.
That spirit of collaboration, positivity, exploration, discovery and life-altering friendship runs through every blade of grass and grain of soil that makes up the Eaux Claires fest. Having Michael Perry appear now and again and reinforce the home-sewn nature of this festival reminded us again and again how lucky we are to get the chance to gather together. A large part of the experience is, of course, finding out about artists and writers whom you may not have heard of before, and that is exactly what happened when I caught Hotline TNT’s set at the Football Stage. The grunge band, led by Will Andrerson, took every opportunity to thank the crowd for their attention and proceeded to rock out heavily under the midday sun. The transition between these two acts was exhilarating, and it promised a lot more surprises were in store.
Phil Cook and The Union took the Baseball Stage next, and if you know anything about Eaux Claires, if Phil Cook is involved, you can guarantee there are going to be some soulful moments happening that will live on in your memory for years to come. Singers Leslie Gardner and Simone Appleby make up The Union, and oh what a union it was! The gospel-rooted performance uplifted everyone within earshot and made me wish there was a Sunday post-fest event to round out the weekend.
Back at the Football stage, another gear shift came with Black Sabbath Cover Band Rehearsal. Yes, you read the name correctly, and it’s exactly how it sounds. Black Sabbath covers, but done extremely well and without an ounce of pretentiousness. Their popularity would earn them one of the few slots to have an extremely limited capacity aftershow at the venue at the back of the local pizza place, The Plus. No, I’m not joking. From all accounts, it was just as ripping as their festival performance. Make plans to catch them if you can.
Heading back to the baseball stage, I was met with Jon Cleary and the Absolute Monster Gentlemen. The name is quite a mouthful, but I had no words to spare when they launched into their performance. I also wasn’t familiar with their music, as I wanted to head into this weekend unknowingly open to anything, and I was so surprised at how soulfully beautiful their music was.
And then it was time for Aimee Mann’s performance of Bachelor No. 2 in its entirety. If I'm being honest, I hadn’t heard that album before, but my curiosity was piqued, judging by how everyone else seemed to be gathered in front of the stage in rapt anticipation, anxiously looking forward to her set. Seemingly, many found a connection to this album from the inclusion of several of Mann’s tracks on the soundtrack for the 1999 film Magnolia. Transporting the crowd back to those angsty days, certainly there were more than a handful of people who found this set resonated with them deeply. I was also an angsty girl back then transitioning from high school to college, so I have to add both the movie and the album to my upcoming listening schedule to relive those days myself.
After this set, I wandered off to find something to eat and to take a minute to check out what was going on in the Literary area. Pizza from Dolce Ragazzi provided the sustenance, but sadly, I’d arrived too late to enter the schoolhouse where Amanda Petrusich was having a conversation with Petrycja Humienik, Gabrielle Calvocoressi, Michael Perry and Sean Thor Conroe. Thoughtfully, there was a speaker setup right outside available for anyone who wanted to listen in. It oddly reminded me of the days when I’d ride in my father’s rickety truck while we listened to talk radio on a random AM station. I chuckled when I turned to my right to see a similar truck fitted with a snowplough on the front with a sign that read “The Snowplow In American Literature.” Yet another Midwest-centric detail that I found amusing as a NYC girl. The first one that made me chuckle was the giant banner of a hand holding a glass of milk that furled in the wind over the festival grounds. They take pride in what they’re known for here.
Heading back to the Baseball Stage, the crowd was packed in tight waiting for the mysterious BON set to begin. By now, everyone knows of Justin Vernon’s reluctance to play Bon Iver music after the release of his last album, SABLE,fABLE, but touting the BON name, the natural assumption amongst the crowd was that some of those tunes would occupy some time here. My prediction was that it would be Justin and a guitar, and I was 100% right. Starting with a cover of Kevin Morby’s “Die Young” as a tribute to what would have been Morby’s EXC debut that got cancelled at the last minute due to the arrival of his first child. Honoring Morby in this way was a tactful gesture, and similarly, Vernon took another opportunity to honor another, John Prine. Michael Perry, continuing his duties as “The Voice of EXC,” related that since Prine’s inclusion in EXC back in 2017 before his untimely passing, he imparted a lot of wisdom to him and Justin. “Room To Spare,” an unreleased Vernon song, was a touching reminder to keep love at the forefront. What struck me most about this set was Vernon’s decision to sing primarily in his lower register. Perhaps it was just him preserving his voice for the Bon Dylan set later that day, but even if it wasn’t intentional, I felt like it was a good decision to make considering his current feelings on the Bon Iver material. Hearing “Beach Baby,” “Flume,” and “re: Stacks” without an ounce of falsetto was deeply moving and set those songs into a brand new light. For years I had mentioned to several people asking my thoughts on why this festival is so special and “magic” was the word I’d often use to describe it. Behind Vernon, I took note of the flag with those very words waving gently behind him and smiled as that magic was happening yet again.
Moving back over to the Football stage, another set that was high on the anticipation list was the collaboration between two powerhouses: Aaron Dessner and Fred Again. If I had to judge solely from their past musical contributions, this set would be a can’t-miss- and I would be correct. Aaron, bringing his vast musical touchpoints into play with flourishes from The National and signature guitar riffs, several compositions made specifically for the fest debuted to an enraptured crowd. With steady rhythms and beats that reverberated through your entire body, everyone seemed to be in awe at how perfect this collaboration was, which was largely created due to Lil’ Yachty’s dropout from the lineup. There will be other opportunities to see Lil’ Yachty, but this Aaron & Fred collaboration was a once-in-a-lifetime.
Another once in a lifetime is Bon Dylan, a Justin Vernon-fronted ensemble of 12 world-class musicians covering Bob Dylan songs. As someone who isn’t the biggest Bob Dylan fan, nothing about this was outwardly exciting, but I have been following Justin Vernon’s many contributions in various groups and with other artists across genres, so I knew I would have to give it a chance. This was a prime example of how a voice can change the impact of a song. While Vernon did slip into Dylan’s cadence and texture, certain parts of Vernon’s voice were evident and strengthened the depth of Dylan’s songwriting. Sean Carey, who was fittingly on drum duties, also took over lead vocals on “Tonight I’ll Be Staying Here with You” and “Lay, Lady, Lay.” Illustrious songbird Monica Martin also joined Vernon, trading vocals on “Boots of Spanish Leather” which was one of the many highlights of this set that included Phil Cook lending a blistering harmonica solo on “Tangled Up In Blue.”
All too soon, Day 1 came to a close, but we were treated to a rousing rendition of “Take Me Out To The Ballgame” on the stadium organ as we all headed to our destinations. For those in attendance, it felt like the fest truly accomplished what they set out to do: providing a space for people from all walks of life to gather. Community and fellowship; common goals for the open-minded and curious to be handsomely rewarded. Michael Perry once said, “where the people become the place.” We couldn’t be luckier to have Eau Claire be that place.
Day 2 - July 25th, 2026
Returning to the grounds for Day 2 of the festival, we were met with a new “friend” - unbearable humidity. The blanket of damp air settled over everything, but that gave me far too many opportunities to visit the rainbow umbrellas around the grounds for a teeth-shatteringly cold popsicle from Pete’s Pops. Ask me about all the flavors if you’d like; my favorite was the Thai Tea. If you didn’t happen to attend Day 1, then arriving at the grounds on Day 2, you’d be met with a plethora of things to take in - tons of music from multiple genres, more literary and artwork offerings, and eclectic exhibitions from magicians, jugglers, lumberjacks, and Drew Kaiser from Kaiserson Honey, who gave a lovely presentation about honeybees. Plus I finally found the beloved MOMS Booth - a holdover from EXC years past with real moms giving out snacks, sunscreen and helpful motherly advice.
On the music front, things kicked off with local indie-band Gash. Was it loud? Yes. Was it exactly what we all needed to get the blood pumping? Absolutely! Lead singer Breckelle Bathke’s screams were probably heard all the way to downtown, but the crowd was loving every second of their set.
In a similar vein, Minnesota grunge-pop band Gully Boys launched into their own frenzied offering with a set of screams to rival the former. Fittingly, they took ample time to denounce the efforts of ICE in their hometown, admonishing their efforts to terrorize their community. The outspoken group was one of the day’s highlights, with a well-earned buzz that preceded their set.
Bringing the energy down several notches, Larry Goldings Trio performed next and transported us into a dimly lit lounge bar in the backroom of a swanky club. Their set was surprising considering how we began the day with uber-loud grunge, but keeping with the ethos of the fest, there’s always “more something, for more everyone.” The inclusiveness of this festival should really be studied as an example of what you should do when you want to include multiple genres that technically shouldn’t make sense on paper. Eaux Claires excels at taking you out of your comfort zone, but in the most friendly, “welcome neighbor” sort of way. As a lover of instrumental music, Larry Goldings Trio was a welcome moment to reflect and recharge for the events of the day ahead. The sole vocal assistance came from none other than Monica Martin, who again embraced multiple opportunities to lend her smoky voice to the instrumentation of “You Don’t Know Me” that made absolute magic.
Continuing with the chill Sunday vibes, ambient artist Juliana Barwick and harpist Mary Lattimore lulled the crowd into a trance. Their collaboration, which I’m listening to as I write this very article, found its place in the festival as the unrelenting heat of the day soldiered on. I’m sure everyone lying on top of blankets strewn across the football field with eyes closed conjured up images of mid-17th century maidens frockling in fields of gold as Barwick’s haunting vocals echoed across the grounds.
But don’t be fooled by this back-to-back respite, because Monica Martin swiftly reminded us why her set was one of the can’t-miss sets of the entire weekend. The Wisconsin native, warmly welcomed home by an increasingly expanding audience, kicked off her set by bringing her adorable service dog out, complete with the legendary Monica Martin humor and stage banter. I would argue that Martin’s humor is a draw in itself, as I found myself chuckling loudly at her deadpan deliveries in between songs. My heart leapt out of my chest when Martin slid into the PHOX crowd favorite, “Slow Motion,” and ended the set with the apt “Go Easy, Kid,” as Martin is one to always own her missteps in life, taking those life lessons and becoming all the better for it. Relatable.
Ramping up the energy at the Football stage to the Nth degree was Nathan and Zydeco Cha Chas. Zydeco, I would learn during this performance, is a downright jubilant form of dance music originating in southwest Louisiana. The accordion played by Nathan Williams is what I would identify as the signature sound of Louisiana. No heavy lifting was required to get the crowd dancing; it was endlessly fun.
As if Day 1’s performance from Phil Cook wasn’t enough church for your soul on a Friday, Known MPLS’ performance was the whole sermon on a Saturday. This youth-based choir, led by Courtland Pickens, was one of the most inspiring things I’ve seen in a while. Composed of middle school teens and college-aged young adults, tackling the beloved “Lift Every Voice And Sing” to kick off their set was a bold choice. I found myself singing along immediately, remembering how many assemblies during my school years I had to sing that song. Making easy work of Miss Lauryn Hill’s “Doo Wop (That Thing),” Michael Jackson’s “Human Nature,” and an incredible rendition of Beyoncé’s “Freedom,” they had everyone’s attention from start to finish. On my left, my friend Atom and I bounced and sang along, while behind me, Dijon took in the show with his son on his shoulders. It was one of the performances I’m still thinking about days after.
Now, as a self-professed Prince lover, and I mean I loved Prince way more than Michael Jackson growing up (when I probably shouldn’t have been listening to Prince at that age), I was looking forward to Revelation: A Retrospective of the MPLS Sound. Led by multi-award winning instrumentalist and musical director, Michael Bland, members of NPG, the Time, Mint Condition, Mazarati, and Sounds of Blackness whipped up a set of roughly 22 songs, including “She’s Always In My Hair,” “Beautiful Ones” and my personal favorite, which again, I probably shouldn’t have been listening to at the tender age I was, “Darling Nikki.” Other non-Prince selections included Janet Jackson’s “Black Cat” and “Nasty Girl” from Vanity 6. As I sang along, I noticed I wasn’t the only one fully enjoying the depth of this performance. A large Prince puppet bobbed along in the crowd as well, and I can only hope the real Prince is enjoying this tribute performance from his heavenly throne as much as we were.
The final act to grace the Football stage was singer/songwriter Samia, whom I was just introduced to earlier this year. One thing’s certain: Samia fans are the very definition of passionate. There were 2 girls right at the barricade I thought would surely explode that were brimming with tears & overflowing with excitement as Samia sang “Triptych.” Samia took several moments to dance across the stage and feel the music, and also surprised many of us with a Wilco cover of “Heavy Metal Drummer” in her set, which again crossed genres flawlessly.
Heading into the last act of the evening, lots of hustling and bustling of stagehands furiously setting up for Dijon’s set on the Baseball stage. But when the familiar face of Francis Starlite, aka Francis and The Lights, picked up a microphone to test, the chatter amongst the crowd reached a frenzy. Not everyone noticed Francis mulling about onstage, as he had on his signature all-black and impressively donned a jacket in the 90+ degree heat, but I immediately noticed and prepared for something truly special. If you haven’t been to past fests, Francis has been a mainstay at all of them, before taking an unceremonious hiatus. Fans have been waiting to hear from him since his last album release, so when the familiar beats of his hit song, “Friends” boomed over the speakers, crowdgoers who may have been on their way to get their last drink or stop off at the restroom immediately forgot those plans and sprinted to the stage. “I’m Francis!” he sang and stepped onstage to thunderous cheers and applause. Doing the Friends dance, sans Justin, and performing “See Her Out,” he looked overwhelmed with the warm and enthusiastic welcome. To say that Francis has been missed by many, especially me, would be a gigantic understatement. So many core EXC memories have involved Francis in some shape or form, whether he was climbing a wooden stage or teaching us all how to dance, so to see him return this year was heartwarming and really made it feel like Eaux Claires is fully back for good. Singing an unreleased song called “Spirit Comes” that reminded us to leave the past behind and live in the moment, and seeing director Jake Schreier onstage filming the entire thing, I’m certain we’ll be hearing and seeing more of Francis in the very near future.
With everyone still buzzing from Francis’ set, Dijon took the stage and gave one of the most emotional and impassioned performances I have ever seen. Dijon is pretty notorious for changing song arrangements on the fly, and with a band as super tight as his, improvisation like this feels like second nature. When they got to “Higher,” that song lived up to its namesake as I felt like my soul exited my body. Vocal effects layered on top of Dijon’s vocals, backing vocals that elevated everything to the next level while Dijon performed like it was his last night on Earth made this a truly memorable way to close out this year’s Eaux Claires and a beyond worthy representation of a festival headlining act. Seeing someone like Dijon who is so in tune with who he is as an artist and what he wants his music to sound like and how it should be interpreted is so refreshing in a world that is leaning more and more toward AI generated slop. Ending a weekend seeing all of the artistry on display, it’s impossible to think that AI will ever be able to generate the kind of pride and care I witnessed during this performance, and I doubt it ever will. As long as Eaux Claires is around to provide the time and space to allow artists to collaborate together and experiment freely. As that famous baseball themed movie goes, “if you build it, they will come.”