The popular four-stage touring festival Laneway came to Auckland once again on February 5th. If you’re WLW, this year’s festival probably felt like Coachella’s cooler, gayer cousin: Chappell Roan, Wet Leg, Lucy Dacus, and Wolf Alice all gracing Western Springs for what turned out to be a long, glitter-dusted day of music, sunscreen, and light emotional damage. Doors cracked open at 12:30pm and, by the time Chappell Roan fluttered off stage at 10pm, thousands had been spiritually reborn.
I kicked things off with Gigi Perez, radiant in the early afternoon sun, delivering a set that felt like a confessional disguised as a daydream. “Fables” rippled through the crowd, but it was her closer “Sailor Song” that really hit. By the final song, the crowd had doubled, and rightfully so.
Oklou was next, experimental E-pop isn’t usually my thing but consider me pleasantly disoriented. Her set was all shimmering synths and surreal vocals, with “Harvest Sky” and “Blade Bird” standing out. Supported by a DJ, Oklou shapeshifted between enigmatic and electric. If you’re an E-pop person, this was probably a revelation; for the rest of us, it was a compelling nudge to become one.
Then came one of the most emotionally dangerous sets of the day: Lucy Dacus. A tear-streaked pilgrimage to the main stage paid off as the Boygenius alum laid her heart bare through “Best Guess,” “Ankles,” and the title track of her new album Forever Is A Feeling. Dacus truly wowed me by performing my favourite song of hers “Partner in Crime” which hasn’t been heard live for many years. She finished off with every yearn-er’s favourite song “Night Shift” which got the entire crowd singing at the top of their lungs.
Post-Lucy Dacus, the crowd rushed next door to catch Role Model. His set opened with the well-loved song “Writing’s On The Wall” and “Look At That Woman”. Our boy is in a bit of a country phase, so songs were met with a lot of “yeows”. His stage presence blew me away; the white boy tore up that dance floor. And to finish off, kiwi-icon Benee joined him for “Sally, When The Wine Runs Out”.
Next, Wet Leg took the main stage by storm. They perfectly balanced songs from their new album Moisturiser with crowd favourites from their debut album. Rhian, frontwoman of Wet Leg, wowed the audience with her stage presence, live vocals, and dance moves. They performed personal favourites “Oh No” and “pillow talk” before ending their set with “Chaise Longue” and “mangetout”. Their chemistry was infectious, their energy, relentless.
Wolf Alice then performed an hour-long set. After releasing their fourth studio album mid-2025, I was dying to hear their newest hit songs. The band worked incredibly together. Each member often chimed in for harmonies on vocals which paid off live. Their pure swag level is unmatched. The vocalist, bassist, and guitarist had incredible chemistry on stage as they seamlessly interreacted with the crowd and each other. They closed with “Don’t Delete the Kisses,” a giant, beaming, full-body singalong that rewired everyone’s serotonin levels. An ideal prelude to the night’s main event.
The stage was set with a stunning green dragonesque castle. Dressed in an eccentric butterfly bodysuit, Chappell Roan opened with “Super Graphic Ultra Modern Girl” and it’s safe to say the audience lost their minds. As an avid “GAF about Chappell Roan” individual, I was blown away. Auckland pulled through and, for the first time in her career, Chappell did not teach her world-famous “HOT TO GO!” dance! She sang all the fan favourites and did a life changing cover of “Barracuda”. Her all-female band was absolutely amazing. She really is your dream girl’s dream girl.
There was free accessible water, a lot of food options, kind staff, and AMAZING music. It felt like an incredibly safe space. There was so much queer joy beaming through each person, and not once did I see a man being a toxically masculine figure (rare sight, I know). Laneway should be expecting to see me there next year, and I expect to see you there too.
