Nearly ten years after my first Governors Ball, I found myself once again spending a weekend chasing sets, walking until my feet practically fell off, and trying to fit as much music as possible into three days. This year’s lineup offered a little bit of everything, from pop stars at the height of their powers to rising artists on the verge of much bigger moments. That’s always been the magic of a festival like GovBall: you arrive with a plan, but some of the best moments come from the unexpected discoveries, the artists who exceed your expectations, and the performances that stay with you long after the weekend ends. Here are some of the sets, surprises, and standout moments that defined my GovBall 2026 experience. 

FRIDAY

Audrey Hobert

Photo by Charles Reagan for GovBall

I can’t tell you how many times I’ve listened to Audrey Hobert’s debut album Who’s the Clown? over the last few weeks. In the lead-up to GovBall, I found myself fixating on it a little, partly because the songs are so addictive, and partly because I had spent so much time watching clips of her live show on TikTok. Even through my phone screen, there was something about the energy of her performances that gave me goosebumps, so naturally this became one of the sets I was most excited to see all weekend.

As Audrey’s first-ever festival performance, the crowd didn’t have quite the same die-hard energy I’ve seen in videos from her headline shows, but that almost made it more fun to watch. You could visibly see people discovering her in real time and getting swept up in the absurdity and charm of it all. She emerged standing on a stool, draped in an oversized trench coat, wearing comically oversized sunglasses and strumming a banjo before launching into a set that was equal parts theatrical, chaotic, and completely endearing. There was even a trampoline on stage, because of course there was. Audrey has a knack for making everything feel a little off-kilter in the best possible way, and what impressed me most was how naturally that translated to a festival audience. By the end of the set, it felt like she had won over plenty of people who had wandered over simply out of curiosity.

The Dare

Photos by Anna Downs for GovBall

The Dare’s music feels tailor-made for a festival environment. Equal parts sleazy, self-aware, and danceable, his set provided one of the first real opportunities of the weekend to let loose and move around. The crowd seemed fully bought in, singing along and embracing the chaos that makes his shows so entertaining. If nothing else, he proved once again that nobody is currently committing harder to a bit. My only lingering question: doesn’t he get hot performing an entire set in that suit?

Katseye

Photo by Marie Lombardo for GovBall

This was one of my most anticipated sets of the weekend. KATSEYE is having a massive moment right now, and as someone who watched Popstar Academy when it first came out, I’ve enjoyed seeing their rise in real time. Between their music and the endless clips that keep finding me on TikTok, I had a pretty good sense of what to expect, but seeing them live was still impressive. Even though my view was frequently blocked by a small child on their father’s shoulders (a recurring theme during this set), it was easy to understand why they drew one of the biggest crowds of the day.

What stood out most was how polished the entire production felt. The group moved through complex choreography with ease, supported by dancers, multiple dance breaks, and the kind of precision that only comes from serious rehearsal. Every member seemed fully committed to the performance from start to finish, and the energy never dipped. Whether you’re a longtime fan or just curious about the hype, KATSEYE made a convincing case for why they’re one of pop’s fastest-rising groups.

Lorde

Photo by Rich Fury for GovBall

I don’t think it’s possible for me to write about a Lorde show without admitting some bias upfront. She has been one of my favorite artists for over a decade, and every time I see her live I’m reminded why. I had already seen the “Ultrasound Tour” twice, so I was curious how it would translate to a festival setting, but somehow it felt fresh all over again. Opening with “Royals” immediately set the tone, while deeper cuts like “Hard Feelings” felt like gifts for longtime fans. The set largely centered on material from Virgin, but Lorde still found room for highlights from “Melodrama” and “Pure Heroine”, along with a brief but welcome visit to “Solar Power” with “Oceanic Feeling.” There are very few artists who can command a crowd that size with such ease, and Lorde remains one of them.

Left Photo by Rich Fury, right photo by Maggie London for GovBall

While some of the larger tour production elements were scaled back (no treadmill this time) there was still plenty of spectacle. A functioning water fountain served as a focal point throughout the show, while the lighting design transformed the stage from intimate to massive depending on the moment. Lorde emerged in a sleek pop-star ponytail and a shimmering rainbow bikini layered beneath a sheer top that appeared to double as a projection screen as visuals danced across her body. One of the night’s most memorable moments came during the “Girl, so confusing” remix, when the camera followed members of her crew backstage as they lounged around and smoked cigarettes, giving the performance an unexpectedly intimate and playful feel. Honestly, I could probably write another thousand words about this set alone, but I’ll leave it at this: Lorde is a generational performer. Her ability to make a festival crowd feel like they’re sharing a secret with her is something few artists can do, and her live shows remain unlike anything else.

SATURDAY

Flowerovlove

Photo by Roger Ho for GovBall

Flowerovlove was one of the artists I was most excited to see heading into the weekend, and she absolutely delivered. Dressed in a hot pink mini skirt, matching denim top, knee-high white socks, and a white bra, she looked every bit the pop star, while her backing band and singers appeared in coordinated denim looks of their own. From the moment she stepped on stage, it felt like she had a clear vision of who she is as an artist and how she wanted to present herself.

The set leaned heavily into the playful, feminine world she’s building. Cartoon visuals flashed across the screen behind her, and one of the highlights came when she premiered an unreleased song called “Victoria’s Secret,” giving festivalgoers an early glimpse at what may be coming next. By the end of the set, she reemerged wearing an “I Am Mother” t-shirt that said on the back, “Oh, you wanna talk about mother?” It was a fitting final image for an artist whose confidence and charisma seem to grow with every performance. Watching her live, I could almost see people around me connecting the dots in real time: oh, her music is really good, it scratches the same itch as some of the biggest names in pop right now, I should probably get on this train early. It feels less like a question of if Flowerovlove will have a breakout moment and more a question of when.

Spacey Jane

Photos by Anna Downs for GovBall

As someone who seems to pick up a new favorite Australian band every year, Spacey Jane felt like a natural addition to my GovBall schedule. Their set was exactly what I hoped it would be: bright guitars, huge singalong moments, and the kind of easygoing energy that feels tailor-made for a summer festival afternoon. Even if you didn’t know every word, it was hard not to get swept up in it.

Hearing “Whateverrrr” live was a particular highlight, the song’s soaring chorus translating especially well to a festival crowd. The band also briefly shouted out Jalen Brunson and the Knicks, earning a big reaction from the audience, but the focus stayed where it belonged: on the music. Spacey Jane’s songs balance emotional honesty with catchy hooks in a way that feels effortless, and that combination translated perfectly to a live setting. It was the kind of set that leaves you wanting to throw on the band’s catalog the second it’s over.

Rayvn Lenae

Photo by Emma Wannie for GovBall

Ravyn Lenae delivered one of the most captivating performances of the weekend. From the moment she stepped on stage in a shimmering blue sequined dress, she felt almost otherworldly, like a mermaid siren who had somehow wandered onto a festival stage. Her set balanced elegance and confidence effortlessly, and it was impossible to look away. While many artists rely heavily on dancers to elevate a performance, Ravyn commanded the stage largely on her own, weaving in choreography while never sacrificing the strength of her vocals.

The stage design only amplified her presence. A raised second level gave her multiple spaces to inhabit throughout the set, whether she was pacing across it, perched on the edge, or using it to create dramatic visual moments. What impressed me most, though, was how naturally she held the crowd’s attention. Her vocals sounded incredible, and there was a quiet confidence to her performance that made every movement feel intentional. She closed with her viral hit “Love Me Not,” which prompted one of the loudest singalongs of the set and served as a reminder of just how much her audience has grown. Even at a festival packed with huge personalities and elaborate productions, Ravyn Lenae managed to create a world entirely her own.

Wet Leg

Photo by Rich Fury for GovBall

Having already seen Wet Leg at Primavera Sound Barcelona last year, I knew I was in for a good time, but the band still managed to exceed my expectations. What began as a project known for its sharp wit and deadpan humor has evolved into a truly formidable live act. Frontwoman Rhian Teasdale is an absolute force on stage, effortlessly balancing the band’s trademark irreverence with the confidence of a seasoned performer. Whether she was stalking across the stage or delivering a perfectly timed lyric with a smirk, she commanded attention from start to finish.

The set struck a great balance between newer material and the songs that first made people fall in love with Wet Leg. Hearing “Mangetout” live was a particular highlight, its infectious energy translating perfectly to a festival crowd. Of course, classics like “Wet Dream” and “Chaise Longue” still hit just as hard, prompting massive singalongs from fans who have been with the band since the beginning. Few bands make being effortlessly cool look quite so easy, and Wet Leg continue to prove they’re much more than the viral success story many people initially took them for.

SUNDAY

Slayyyter

Photo by Charles Reagan for GovBall

Slayyyter was a performance I absolutely was not going to miss. After reviewing Wor$t Girl in America and watching clips from her Coachella set earlier this year, my expectations were already high. While her Gov Ball appearance was delayed by about ten minutes due to storms in the area, she came in like a storm herself, immediately making everyone forget the stress of crowding under tents and waiting for the rain to pass. From the second she hit the stage, the energy shifted.

What impressed me most was how fully she utilized the massive Gov Ball stage. Slayyyter covered every inch of it, and the crowd responded in kind. The footage speaks for itself: people were absolutely raging. Highlights included “Yes God” and “Crank It,” both of which felt tailor-made for a festival environment and sent the crowd into a frenzy. Visually, the performance felt like an extension of the Wor$t Girl in America era, complete with the spray-painted t-shirt set pieces that have become synonymous with the project. Her outfit, meanwhile, felt straight out of Moulin Rouge!, adding a touch of glamour and theatricality to an already explosive set. I was a little bummed she didn’t perform “Brittany Murphy,” though I’m willing to blame the weather delay for that one. Either way, watching Slayyyter command a crowd that size was one of the most exciting moments of the weekend.

Geese

Photo by Rich Fury for GovBall

I’ll admit that I’ve been a little skeptical of Geese. Whenever a band experiences a rapid rise and suddenly everyone seems obsessed, my instinct is usually to proceed with caution. I’d spent time with both Geese’s Getting Killed and Cameron Winter’s solo album Heavy Metal, so I wasn’t coming in completely blind, but I was still curious to see what all the fuss was about in a live setting.

By the end of the set, I got it. More than anything, it was Cameron Winter who impressed me. There’s something about his vocal tone that’s completely captivating, giving the music a timeless quality that can make you feel like you’ve stumbled into the 1970s for a moment. At the same time, the band, despite being so young, carries itself with the confidence and maturity of a rock group that’s been doing this for decades. The crowd energy only reinforced that feeling. Everywhere I looked throughout the weekend there seemed to be someone wearing a Geese t-shirt, and their fans showed up in full force. Watching the band’s connection with the audience in real time made it easy to understand why they’ve become one of the most talked-about rock bands of the moment. Let’s just say I left with a much greater appreciation for Geese and an embarrassing amount of admiration for Cameron Winter.

Dominic Fike

Dominic Fike feels like a Governors Ball staple at this point. Having performed at the festival in both 2021 and 2024, and if my memory serves me correctly, I was there for both of those sets, he’s become one of those artists who feels intrinsically tied to the event. Judging by the massive crowd gathered for his performance this year, I’m clearly not the only one who keeps coming back.

What continues to impress me about Fike is how effortlessly he moves between styles. He’s a strong vocalist, a sharp songwriter, a capable rapper, and an underrated guitarist all at once. Performing shirtless under the afternoon sun, he worked through a set packed with fan favorites while also debuting an unreleased song called “AI.” For me, “Babydoll” and “White Keys” were the clear highlights, both serving as reminders of how good Fike is at pairing memorable melodies with an undeniable sense of cool. Whether he was rapping, singing, or launching into a guitar solo, the crowd stayed locked in. Some artists have festival appeal because of spectacle; Dominic Fike has it because he’s genuinely talented at just about everything he does.

Jennie

Ever since seeing clips of BLACKPINK’s Jennie performing solo, I’ve been curious about what a full festival set from her would look like. The answer, unsurprisingly, is that she carries herself like a superstar. From the moment she stepped on stage, she exuded confidence, moving through intricate choreography with ease while never losing her connection to the crowd. Even on a festival lineup packed with larger-than-life personalities, Jennie had no trouble commanding attention.

Some of my favorite moments came during “Love Hangover” and “ExtraL,” a collaboration with Doechii that I absolutely love. While Dominic Fike didn’t make an appearance for “Love Hangover” despite having just finished his own set, the song still landed well with the crowd. Of course, the biggest moment of the set was “Like Jennie.” The crowd erupted the second it began, and it felt like the perfect culmination of everything that makes her such a compelling performer: confidence, charisma, and an undeniable understanding of how to own a stage.

All of the amazing musical performances aside, what I’ll remember most about this year’s Gov Ball is how distinctly New York it felt. With the Knicks in the Finals, the energy extended far beyond the festival grounds, with artists sporting Knicks jerseys, shouting out the team from the stage, and crowds erupting whenever the city’s playoff run was mentioned. Appearances from city officials, including NYC Parks Commissioner Iris Rodriguez-Rosa, only reinforced the feeling that this was a uniquely New York weekend. This was also my first time attending the festival at Flushing Meadows Corona Park, a place I’d somehow never visited despite hearing amazing things about the nearby Queens Night Market for years. Between the music, the community, and the unmistakable hometown pride woven throughout the festival, Gov Ball felt less like a series of concerts and more like a snapshot of the city at a very specific moment in time. Nearly ten years after my first Gov Ball, I’m grateful to have experienced another memorable weekend and already looking forward to the next one.