Laneway has returned and once again captured Adelaide’s heart. The energy across the lineup was some of the best in recent years; every artist radiated a genuine love for music and performing, and it showed in each set.

Despite the heat, the spacious facilities at the Adelaide Showgrounds made the day far more comfortable. Grassed and shaded areas, accessible water stations, and an easy-to-navigate layout made moving between stages seamless. There was plenty of food on offer (Belles Hot Chicken and the pretzels were personal favourites), great merch, and a Ferris wheel towering above the grounds. With more than a few artists inviting the audience to be their Valentine, it was certainly not a Laneway to forget.

The afternoon kicked off with crowd favourites, including Gigi Perez, who made her Australian debut at Laneway. She closed with her hit ‘Sailor Song’, delivering a soulful and emotionally charged performance that resonated deeply with the audience.

Over at the Everything Ecstatic stage, Malcolm Todd charmed crowds with his authentic humour and maroon electric guitar. ‘Roommates’ was a standout moment, as was his onstage shot of vodka- a fittingly chaotic addition to his set.

Indie favourite Alex G was effortlessly charming. The American artist even pranked the audience (myself included), claiming he was born in Adelaide and went to school locally. ‘Mary’ was undeniably a crowd favourite, with fans joining in enthusiastically.

Lucy Dacus, known also for her work in boygenius, delivered one of the most emotionally resonant sets of the day. Her calm stage presence was grounding, even in the heat. At one point, she admitted she felt ‘half out of her body,’ yet her vocals never faltered. Her connection with the crowd was powerful, particularly during chants of “Free Palestine,” which were met with overwhelming support. Her band was another standout, especially the violinist, whose contributions added rich texture to an already layered performance. She delivered a stunning rendition of boygenius’ ‘True Blue’ before closing with ‘Night Shift’, which fans joined in with the belting (albeit not quite to the same level of talent).

Tucker Pillsbury, aka Role Model, delivered one of the festival’s most entertaining sets. His crowd interactions were a highlight, jokingly introducing himself as Maroon 5 or The 1965 after performing an excellent cover of ‘Somebody Else’ by The 1975.

Dressed in a striking blue-on-blue outfit, Role Model’s confidence elevated his performance. He declared he “fucking loves Adelaide” and was tempted to move here: a sentiment warmly received by the Laneway crowd. His opener, ‘Writing’s on the Wall,’ had a country-tinged quality that perfectly matched his swagger and vocal rasp. A major highlight came during ‘Sally, When The Wine Runs Out,’ when the song’s ‘Sally’ appeared on stage, none other than Lucy Dacus, who ran out onto stage, rose in mouth. Their joyful chemistry and obvious love for performing made for one of the day’s most memorable moments.

PinkPantheress performed inside the Everything Ecstatic DJ tent; perhaps her set would have been better suited to one of the festival’s side-by-side main stages. While the heat inside was intense, she still delivered a strong set. Having seen her previously at Heaps Good Festival in 2023, it was impressive to witness her growth in stage confidence and audience interaction. She moved energetically across the stage, backed by dancers and sharp choreography. The lighting design and visuals were standout elements; cleverly edited montages played across the screen behind her, while pink lighting reinforced her distinct aesthetic.

Unfortunately, PinkPantheress’ set clashed with Wet Leg, but following them, Wolf Alice proved to be the day’s strongest rock act. Their set largely centred on tracks from last year’s album The Clearing, and they delivered with intensity and polish. Frontwoman Ellie Rowsell commanded the stage with magnetic presence. With the band set to return to Australia in December, they are not to be missed.

Headliner Chappell Roan went above and beyond. From her fantastical, castle-like stage design to multiple costume changes, a tight live band, and clever stage effects, her set felt theatrical in the best way. Her crowd interactions were seamless, from teaching us how to properly pronounce her name to orchestrating mass sing-alongs during ‘Naked in Manhattan’ and leading the iconic dance for ‘HOT TO GO!’. She also delivered a powerful cover of ‘Barracuda’ by Heart, a track perfectly suited to her voice and one that left many hoping she leans further into rock. As flames surrounded the stage during her closer, ‘Pink Pony Club,’ and fans screamed every lyric back at her, it was undeniable: Laneway chose the right headliner. If this performance is anything to go by, this may be just the beginning of a truly revolutionary artist.

While there were minor clashes and the inevitable challenges of a long, hot festival day, Laneway at the Adelaide Showgrounds was a great success. From breakout debuts to commanding headline moments, the day was defined by connection: between artists and audience, friends on the grass wearing pink cowboy hats, and strangers singing the same lyrics in unison.

Written by Niamh Trainor

Photos by John Goodridge