A ruckus and a proposal as one of the world’s biggest acts hits the Melbourne stage
Sydney Morning Herald
by Giselle Au-Nhien NguyenFebruary 13, 2026
AI-Generated Deep Dive Summary
The Laneway Festival in Melbourne has once again showcased its status as one of Australia’s premier music events, attracting a diverse lineup of artists and a younger, pop-oriented crowd. This year’s festival, held at Flemington Park, featured performances by Chappell Roan, Lucy Dacus, Role Model, and Wet Leg, among others, delivering a dynamic mix of genres and unforgettable moments. The festival has evolved since its 2004 debut as a small laneway event, now drawing over 30,000 attendees annually. This year’s lineup reflected a shift toward pop and queer influences, with Chappell Roan stealing the spotlight with her campy theatrics and energetic performances.
Chappell Roan’s set was a highlight of the festival, blending viral hits like *Hot To Go!* and *Femininomenon* with a cover of Heart’s *Barracuda*, showcasing her versatility as a performer. Her stage presence, including elaborate costumes and a wedding dress, created a fantastical experience for fans. Despite some criticisms of her live performances straying from the subtlety of her recorded work, Roan delivered moments of quiet vulnerability, such as her rendition of *The Giver*, which resonated deeply with the crowd. Her ability to connect with audiences through both her voice and stage presence made her a standout performer.
Other acts brought their own unique flavors to the festival. Lucy Dacus captivated the audience with her indie folk sound, while Role Model (Tucker Pillsbury) delivered a relaxed set of Americana-tinged folk rock, featuring Wet Leg’s Rhian Teasdale for a rendition of *Sally, When the Wine Runs Out*. Geese, led by Cameron Winter, brought experimental noise rock and a classic indie vibe to their performance, leaving fans reminiscing about the festival’s earlier days. Meanwhile, Wolf Alice’s genre-jumping set, anchored by Ellie Rowsell’s powerful vocals,
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Originally published on Sydney Morning Herald on 2/13/2026