Now in its fourth edition, the festival returned to a market that’s grown massively in scale and ambition, armed with experimental Indian acts and global crowd-pullers including Yungblud, Linkin Park, Playboi Carti, Kehlani, Fujii Kaze, and Sammy Virji
Photo by Shahzad Bhiwandiwala for Rolling Stone India
When Lollapalooza rolled into India with its first edition in 2023, it was entering a country still scaling up its live music ecosystem to accommodate global headliners and festival-grade infrastructure. Now in its fourth edition, the festival returns to a market that has grown into itself, with audiences that have become both larger and more discerning. Against the backdrop of a slightly oversaturated live music economy, Lollapalooza India knew it had to step up its game this year. And in many ways, it did.
The multi-genre music festival kept up its core tenet of spotlighting Indian talent alongside international heavyweights, with even early-day slots managing to pull in sizeable crowds. Its special-edition visual language exploring cosmic connections and music as a binding force, designed in collaboration with Aaquib Wani, echoed throughout the festival grounds as loudly as the bass, with each of its four stages telling a singular story.
Day 1 kicked off with singer-songwriter Zoya delivering a set on the Alternative Stage that cemented a new turn into her evolving pop persona, working in motifs and symbols into her stage visuals in a way that mirrored her musical arc. Later on, Ankur Tewari & The Ghalat Family brought hits like “Yaaron” alongside new material.
Another standout set on the Alternative Stage was the tribute to Ustad Zakir Hussain presented by Prithvi Theatre — led by keyboardist Zubin Balaporia and drummer Gino Banks, along with an ensemble cast of classical and experimental musicians including Ishaan Ghosh, S. Akash, Mehtab Ali Niazi, Faizan Hussain, Rhythm Shaw, Sheldon D’Silva, and Shikhar Naad Qureshi. Starting strong with an electric guitar riffing on “Saare Jahan Se Accha,” the eclectic fusion saw each musician take the lead at different points, playing out like a free-flowing conversation between their instruments.
There was a bit more rock in the mix as well, with Manchester act Hot Milk bringing a surprisingly heavy element and inciting mosh action at the H&M stage early in the afternoon. Meanwhile, Canadian rock act Mother Mother added a bit more angst with a few subversive turns on songs like “Verbatim” and “Hayloft,” capturing the audience’s attention early on at the BudX stage.
Back on the H&M stage, Japanese cult-favorite singer-songwriter and musician Fujii Kaze had the crowd in a chokehold with his fluid interplay of pop, jazz, R&B and soul. Adorning his forehead with a black tikka (a stylistic nod to his reverence for India), he crooned and shapeshifted as he performed, slowly shedding the outer layers of his Seventies-inspired statement outfit, while his screen projected English translations of his Japanese lyrics (a nice touch that felt like a genuine effort to bridge borders and language gaps).
After sunset, it was only apt that an act like The Midnight closed out the Alternative stage, making a triumphant return to India after touring the country in February 2024. Bringing synth-pop glory, complete with a resplendent saxophone, they were an easy pick for anyone not in the mood for heavier rock.
Day 1’s real firepower came from Yungblud, who gleefully stormed into India with his riotous brand of rock & roll for the very first time. Clad in just his signature low-slung leather pants, the English rockstar prowled the H&M stage, tearing through tracks like “Hello Heaven, Hello” and “Lovesick Lullaby” with such feral intensity that fist pumps and hand-horns felt mandatory.
While his live performance of “Fleabag,” which saw a shirtless fan join him on stage to play bass, was packed with momentum, the most hard-hitting moment came when he shifted gears into his cover of Ozzy Osbourne’s “Changes,” a tribute that left him in tears. The crowd showed Yungblud the love, and he, in turn, gave it back in a way that few performers are able to do, promising that this was only the beginning of his journey in the country.
One of Day 1’s biggest missteps was programming Playboi Carti on the mainstage right after Yungblud. Following up Opium’s Destroy Lonely and Homixide Gang, Carti’s set tilted hard into high‑octane trap but felt more chaotic than kinetic. While he belted out festival favorites like “FE!N” and “Timeless” alongside deeper cuts like “Sky,” it didn’t land with the kind of vigor a headliner should bring to a festival of this stature. And though it was a booking decision that clearly wanted to hit the country’s voracious hip‑hop audience, Carti didn’t quite fit into the festival’s throughline. Over at the Perry’s x Keep Walking stage, though, the abrasiveness of the night was going strong with American DJ-producer Knock2 running a bass-powered set that leaned into trap with pumped-up pyrotechnics.
Day 2 brought with it a barrage of acts that made even the harsh afternoon sun feel worth taking on. Gini made her Lollapalooza debut with an early-afternoon set on the H&M stage, delivering her love-laced melodies with a dash of whimsy. Both her song choices and her outfit, a sheer white ensemble anchored by a black corset and lace bows, served as a metaphor for the young singer-songwriter comfortably stepping into her next phase.
Norwegian artist Tolou marked the launch of her debut album Energy at the Alternative stage, backed by dancers and DJ KDDO. She brought the same diva-level energy to her singing, dance moves and storytelling as when we last saw her at Øyafestivalen in Oslo, Norway in 2025. Towards the end of the set, she was even windmilling her hair, likely unlocking a new pop fanbase.
Back on the mainstage, OAFF and Savera managed to pack in a crowd despite the timing and temperature. Their set unfolded with an airy, ethereal quality that saw guests like Divyam Sodhi, Burrah and Yashraj join them as they balanced originals like “Baalma” and “Dil Mera,” with more commercially familiar moments like “Gehraiyaan.”
The more accessible acts were coming in sooner than the heavier bands on Day 2, perhaps in a bid to warm up fans rather than just program according to crowd appeal. Goa-based, Kolkata-origin artist Sen’s sunny rock at the H&M stage was a nostalgia-tinged offering that leaned into the erstwhile band the Supersonics’ material, including “Yeah Whatever.” New Delhi’s instrumental trio Zokova packed a punch with groovy, post-rock and math-rock-influenced tunes from their upcoming album. Post-hardcore band Pacifist launched their new EP Five at the Alternative stage with an important message about how hardcore allows them to explore heaviness as well as vulnerabilities through melodies and breakdowns.
Calum Scott took over the BudX stage around early evening, his commanding voice journeying from distinct piano ballads to EDM cuts like “Where Are You Now” with Lost Frequencies and “Whistle” with Jax Jones. Among the more heartwarming moments of the festival was when he brought his mother out to the ramp and sang his powerhouse version of Robyn’s “Dancing On My Own” as part of his encore.
DJ-producer duo Baalti took the reins of the Perry’s x Keep Walking stage with a dek bass soundsystem inspired by their Mela EP, throwing down frenetic club cuts like “Raja” and “Motion Therapy” along with their much-loved remix of A.R. Rahman’s “Tere Bina.” Bringing on board special guests like rappers Dhanji and BamBoy, their set felt like a homecoming that made an outdoor sundowner set feel like the grimy floor of a Brooklyn warehouse.
London-based Nubiyan Twist brought the grooves and gave the crowd a whole lot of energy, working the crowd not just through jazz, hip-hop and soul, but also through a bit of friendly banter about the state of the world and their time in India.
New Delhi folk-metallers Bloodywood took over the BudX stage just a couple of days after supporting Linkin Park at their Bengaluru show. A well-oiled unit who have full conviction in their stage game and songwriting, Bloodywood’s set was an hour-long aural assault that proved they’re at the top of their game.
R&B/pop singer-songwriter Kehlani was a surprise name on the Lollapalooza India lineup when it was announced, but the West Coast artist drew plenty of fans and curious listeners. From sensual dance moves, songs like “Gangsta,” “Nights Like This,” and a surprise appearance by Punjabi star Talwiinder, it’s a sign of just how special an artist can make their India debut.
Around the same time, UKG prodigy Sammy Virji made his highly anticipated India debut on the Perry’s x Keep Walking stage with a bouncy, bass-blaster of a set that kept the crowd locked in. Packing in original tracks like “I Guess We’re Not The Same” and “Nostalgia,” alongside chart-topping collaborations like “Cops & Robbers” with Skepta and “Talk of the Town” with Fred Again.. and Reggie, Virji’s set served up synth stabs and rubbery basslines that made it hard not to stay in a state of spring-loaded motion. His tongue-in-cheek visuals leaned into internet culture and post-meta irony, and felt like an extension of his irreverent persona.
Finally, Linkin Park closed out the festival with an emotionally atomic headliner performance that swept the crowd up in a wave of nostalgia.
Linkin Park was always going to be the biggest pull of the two-day festival, and the size of the audience made that even more obvious. The crowd bordered on claustrophobic, but as Mike Shinoda, Emily Armstrong, Dave “Phoenix” Farrell, Joe Hahn, and Colin Brittain took full control of the stage, it was a moving moment that took us back to the days of listening to songs like “In The End,” “Papercut” and “Numb” with clunky headphones plugged into a desktop computer.
Emily shone brightest when it came to some of their relatively newer releases like “The Emptiness Machine” and “Heavy Is The Crown.” Though the iconic band had a formidable on-stage presence, late frontman Chester Bennington’s absence was deeply felt by all longtime fans. Despite some complaints of a lowered output volume from the stage, it was one of those sets that hit you like a gut punch and stayed with you long after the final chords had rung out.
During Yungblud’s set, in what felt like a peak urban-mindset moment, attendees took up a prime viewing spot behind the console and casually moved in by opening the barricade gates to the sound-tower area. For several songs, it felt like an unofficial viewing zone had emerged, until security finally stepped in and asked a stubborn (and trespassing) group to return to the general area. These lapses became even more concerning during Linkin Park’s closing set, when an attendee was seen climbing several feet up a truss, as the crowd below visibly feared a mishap. The individual eventually climbed down and was reportedly escorted out of the festival grounds.
From the entrance gates to the grounds, certain planning and logistics hiccups were hard to ignore. While attendees using public transport like the Metro and local trains were promised free drink coupons, they were instead routed on an even longer walk past inexplicably inactive security lanes near the Metro gate, only to be sent all the way to the opposite end of the festival grounds.
The sound this year had several shortcomings, with music from one stage bleeding into the other in many instances, along with dead spots that dulled the overall listening experience.
Lollapalooza India has also shifted gears from being a draw just for music diehards to becoming a must-attend event for the overall experience. But with that comes the need to constantly monitor concert etiquette — a responsibility shared equally by attendees as much as the festival — as well as accessibility and inclusivity. There was a bit of cluelessness among the Persons with Disabilities personnel on Day 1, which led to long waits for shuttles. On the other hand, the festival’s queer-friendly lineup and signage were a big plus that shows how India can match international standards when it comes to showing allyship.
All in all, despite comparisons to past editions’ lineups and crowd management, Lollapalooza India 2026 remains the country’s most immersive festival experience, holding a mirror to a live music market that is slowly but steadily coming of age.
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