Lorde
The NZ art-pop auteur — brooding, minimal, and generation-defining, back on a headline stage where the whispered verses hit hardest.
BottleRock 2026 has already wrapped — but you can still dig through the lineup and find the acts you would have loved.
Three May days in Napa — Foo Fighters, Backstreet Boys and Lorde over a bill that mixed arena rock, 90s hip hop and a Silent Disco.
BottleRock ran its usual Memorial Day weekend slot at the Napa Valley Expo, with 80 performances across three days. Lorde, Teddy Swims and Lil Wayne led Friday; Foo Fighters, LCD Soundsystem and Zedd took Saturday; Backstreet Boys, sombr and Ludacris closed Sunday.
BottleRock books wider than almost any festival its size, and 2026 was a good example: Chaka Khan, Men at Work, Joan Jett and the Blackhearts, Kool & The Gang and Rev Run of Run-DMC sharing a weekend with sombr, almost monday and Good Neighbours. Rilo Kiley's reunion sat in the middle of it.
The festival's other signature is the Silent Disco, which books names rather than filling a tent with a playlist — DJ Pauly D, Meredith Marks and Jess King all took slots in 2026.
Expect pop, hip hop, alternative and indie pop across 80 acts.
Friday May 22 through Sunday May 24.
Lorde, Teddy Swims and Lil Wayne on Friday; Foo Fighters, LCD Soundsystem and Zedd on Saturday; Backstreet Boys, sombr and Ludacris on Sunday.
May 22–24, 2026, at the Napa Valley Expo in Napa, California.
80 performances across the three days.
A headphone stage that BottleRock books with actual names rather than a playlist. DJ Pauly D, Meredith Marks and Jess King all played it in 2026.
Lollapalooza lineup →Hopscotch lineup →The Fest lineup →Rebellion lineup →III Points lineup →Lost Lands lineup →Louder Than Life lineup →All Points East lineup →Aftershock lineup →End of the Road lineup →ARC lineup →Warped Tour Orlando lineup →Austin City Limits lineup →Reading & Leeds lineup →EDC Orlando lineup →Bourbon & Beyond lineup →Riot Fest lineup →Outside Lands lineup →Green Man lineup →HARD Summer lineup →Osheaga lineup →Bass Canyon lineup →Hulaween lineup →Honcho Campout lineup →Portola lineup →Furnace Fest lineup →Shaky Knees lineup →Sick New World Texas lineup →Hinterland lineup →All Things Go DMV lineup →Raleigh Wide Open lineup →Oceans Calling lineup →Darker Waves lineup →Bumbershoot lineup →Ohana lineup →Sea.Hear.Now lineup →Iron Blossom lineup →All Things Go NYC lineup →
The NZ art-pop auteur — brooding, minimal, and generation-defining, back on a headline stage where the whispered verses hit hardest.
A tattooed Georgian with a genuinely enormous soul voice, who covered his way to a following and then wrote the heartbreak records to match.
The most influential rapper of his generation, and still the most quotable — a mixtape run that rewired the whole genre.
'Last Resort' to now — nu-metal survivors who never stopped filling fields, with Jacoby Shaddix still working every inch of stage.
A songwriter's songwriter who writes hits for everyone else, then plays his own with a full band and no cynicism.
Every woman, one voice — funk and soul royalty whose catalog with Rufus and beyond never quits, still one of the great living instruments.
A one-person band who builds whole songs live from loops — guitar, beatbox, trumpet, all stacked in front of you.
Heartthrob indie-pop — leather-jacket romanticism with pop craft, swooners engineered for the barricade and the long drive home.
Falsetto-led glam-pop with a '70s sheen and hooks built for a car stereo — 'Electric Love' plus a catalog slicker than its one-hit reputation.
The Australian new-wave band behind one of the most recognisable flute riffs ever committed to tape — Colin Hay's charm does the rest.
Mid-2000s British pop whose biggest single has had roughly three separate cultural afterlives — 'Unwritten' refuses, gloriously, to die.

One third of Run-DMC, and one of the voices that made rap a stadium proposition in the first place — history behind the decks.
Auckland's harmony-stacked power-pop treasures — jazz-school chops, huge hearts, and 'Expert in a Dying Field' proof of mastery.

Taylor Hawkins's covers band, carried on by its surviving members as a straight-ahead classic-rock revue — deep-cut rock joy played in his honor.
Naughty by Nature's frontman, whose delivery on the group's early singles still sets the bar for a hook — 'Hip Hop Hooray' on demand.



Thirty years of Dave Grohl turning grief and volume into the most reliably cathartic rock show going — a hits catalog three hours deep, played like it's still a club gig.
The dance-punk philosopher kings — 'All My Friends' remains the great festival closer, and James Murphy its most self-aware master of ceremonies.
A classically trained producer whose precision-engineered pop-EDM defined mainstage sound for a decade — 'Clarity' still the gold standard.
Jenny Lewis's early-2000s indie institution, reunited — sharp, sardonic songs that helped define the era, back for the faithful.
Three brothers building maximalist, theatrical pop out of a bedroom studio — brass-band drops, confessional lyrics, and a live production that plays like a Broadway show about anxiety.
Three decades of the fastest, most physically committed delivery in rap, and none of it has slowed down — a hits catalog that turns any field into a block party.
The blueprint for women fronting a rock band on their own terms, still playing it with total conviction — 'Bad Reputation' as mission statement.
Gavin Rossdale's post-grunge outfit, whose mid-'90s singles have aged into genuine festival-crowd catnip — 'Glycerine' and 'Machinehead' still land like it's 1995.
Florida indie rock built for festival fields — 'August' euphoria, surging choruses, and a live energy that outruns the recordings.

Hawaiian island reggae built on a genuinely soulful lead vocal — Maui warmth with country-soul phrasing.
'Good' still is — New Orleans alt-rock lifers with easy charm and a '90s catalog deeper than the one-hit tag suggests.
Early-'90s Atlanta collective who put southern, rural, spiritual concerns into hip-hop before anyone else did — 'Tennessee' and 'People Everyday' still radiate communal warmth.
San Diego trio making relentlessly sunny guitar-pop that sounds exactly like the beach it came from — falsetto hooks, funky bass, and zero interest in being sad.
Three sisters from Monterrey out-rocking everyone — Mexico's hard-rock pride, a family band that grew into arena-grade virtuosity.
Writes plainspoken, grunge-tinged rock songs and has been quietly building a real catalogue away from the surname — the songs stand on their own.
Moody LA pop with model-off-duty cool — smoky low-register vocals over sleek late-night production, noir mood sustained from first note to last.
Melbourne's deadpan folk harmonists — three voices, one wicked sense of humor, close-harmony singing with a stand-up's timing.


Thirty years in, still performing the choreography and hitting the harmonies that sold a hundred million records — 'Everybody', 'I Want It That Way', and a field-wide singalong guaranteed.
Moody, reverb-soaked alt-pop from a Manhattan teenager who went from bedroom demos to festival bills — heartbreak at streaming scale.
Atlanta's fastest wit — twenty years of hits delivered with a showman's grin, from 'Southern Hospitality' to stadium-hosting polish.
Philly folk-rockers grown into amphitheater singalongs — warm, road-tested, communal, with 'Silver Lining' as the nightly high-water mark.
San Diego reggae-rock lifers, signed by Bradley Nowell and playing the same sunburnt groove ever since — beach-cruiser music, perfected.
Dallas rapper with a booming, unhurried baritone over soul-sampled Texas production — heavyweight presence that made him one of the South's fastest risers.
Six decades of funk and disco standards that everyone in the field knows whether they realise it or not — 'Celebration' is simply the closer.
A gravelled voice and songs shaped by a genuinely unusual upbringing playing prison ministry shows — redemption-arc folk with radio-sized choruses.
Argentine trap star who came up through freestyle battles and returned from a long contractual silence intact — Córdoba's comeback king.
Melbourne's great indie-dance band — '80s synth textures with genuine songwriting under them, 'Lights & Music' still an instant floor-filler.
The Lovell sisters play slide guitar and harmony vocals with a Georgia blues fluency that took years to earn — roots-rock swagger, zero costume.
An Oakland band that started busking in BART stations and still plays like the crowd is three feet away — second-line joy, coast edition.
Sydney folk trio with banjo, harmonies, and songs built for singing back at them — coastal warmth with real craft.
A London duo whose first single went everywhere before they had played a show — sunny, whistling indie-pop now proving itself the traditional way.

Korean-American country-blues revivalist — National steel guitar and dust-bowl holler, prewar blues played like breaking news.

