Damon Albarn's animated universe — a genre-omnivorous hits machine and guest-star carousel, two decades of cartoon cover for some of pop's best songwriting.
Corona Capital 2026 Lineup
Three days on a Mexico City race circuit, where British indie, American alt rock and a deep international undercard share one weekend.
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About Corona Capital 2026
Corona Capital has spent sixteen editions doing one thing well: booking the bands Mexico City otherwise never gets to see. The 2026 edition runs November 20–22 at the Autódromo Hermanos Rodríguez, the Formula One circuit that turns into a festival site for one weekend a year, with Gorillaz, The Strokes and Twenty One Pilots at the top of the bill.
Underneath them is the reason people fly in. Mumford & Sons, The xx, The Offspring, Underworld and Pierce the Veil fill out the upper card, and the A to Z runs deep into acts that play 500-capacity rooms at home: Model/Actriz, Militarie Gun, Friko, Ratboys, Ela Minus, Fcukers. Johnny Marr, Manic Street Preachers, The Black Crowes and Tricky cover the back catalog. BUNT. plays a set in the round.
Expect indie rock, indie pop, alt-pop and alternative across 72 acts.
Corona Capital 2026 lineup: all 72 acts
Search it, filter by day, stage or genre. Save anything straight to your schedule.Browse all 72 acts →
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The band that rebooted New York rock — a deep catalog of deadpan cool, still untouchable live when the engine catches.
Genre-agnostic arena duo — rap, ukulele, and existential dread with a devoted Clique, lore deep enough for a wiki.
Banjo-house crossover — folk samples and organic textures with festival-sized drops, stomping the line between hoedown and main stage.
Canadian R&B with gospel bones — sparse arrangements built entirely around the voice, 'Best Part' devotion delivered at a whisper.
James Blake
Cavernous piano ballads and subwoofer bass from the producer who taught a generation of singers to sit inside their own reverb.
Lil Yachty
Atlanta's shape shifter, from bubblegum trap to a full psych rock detour, and never quite where you last left him.
'Messy' made her unavoidable — raw South London soul-pop with a busted-heart snarl and a voice that earns the Winehouse comparisons.
Vancouver's TikTok-resurrected art-rockers — quirky harmonies and a huge devoted crowd, a back catalog rediscovered by a generation that made it theirs.
Banjo-driven crescendos that defined a decade of festival folk, now delivered with the electric guitars left plugged in — the singalongs never optional.
San Diego post-hardcore romantics enjoying a massive TikTok-era second act — the scene's most swooned-over comeback.
The Kooks
Brighton indie built on hooks that outlived the 2006 landfill purge, still filling rooms on the strength of 'Naive'.
Thirty years of hooks that snuck genuine punk speed onto daytime radio without anyone noticing — the catalog is basically all singles.
Whispered minimalism that somehow fills a festival field — intimacy at headline scale, 'Intro' still raising arm hair.
Karl Hyde's stream-of-consciousness vocals over Rick Smith's builds — 'Born Slippy' was only ever the doorway into a much stranger catalogue.
Absolutely
Masked Saguenay duo who loop double-necked microtonal guitar into hypnotic, odd-metred math rock — 2026's strangest breakout story.
Anna Luna
Baby Queen
Bella Latham's diaristic bedroom pop, funny and mean about being online, written in London and born in South Africa.
Bad Suns
Sunlit Los Angeles guitar pop with new wave bones, the kind of band whose choruses arrive exactly on schedule.
Kiwi brothers making slinky, falsetto-led alt-funk — Auckland groove-pop polished to a late-night sheen, with basslines that do most of the flirting.
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.
Céline Dessberg
'Beanie' broke him everywhere — woozy, warm bedroom soul from Baton Rouge, falsetto sighs over underwater guitar.
Glasgow trio pairing Lauren Mayberry's clear high vocal with synth hooks built big enough to fill a field, sharp lyrics under the shine.
Irish country-pop with a wicked sense of humor and a bigger voice — a riotous live show that swings from comedy to gut-punch inside one chorus.
Darianna Everett
Angus Stone's hazy side project — slacker psych for a very late afternoon, all languid grooves and heavy-lidded charm.
Retro-soul made by people who studied the records — two voices trading leads over immaculate rhythm work, from falsetto sweetness to preacher grit.
Colombian synth auteur — protest songs you can dance to, built entirely on hardware and delivered with quiet, glowing defiance.
NYC's buzziest indie-dance trio — baggy house grooves with downtown cool, like Madchester relocated to a Chinatown basement.
Felipe Gordon
Bogotá's analog house obsessive, splicing live jazz keys into deep cuts that sound like they were recorded to tape because they were.
Xenya Genovese's woozy, guitar-led bedroom pop, sung like she's half-asleep and completely certain — Manchester cool at a whisper.
Chicago's chamber-punk romantics — big feelings, bigger crescendos, and a debut that made half the indie press swoon.
Good Kid
Toronto quartet playing bright, knotty guitar pop behind a masked frontman, with an audience built almost entirely online.
Scrappy, hook-stuffed bedroom electro-pop with real wit — Brooklyn miniatures that do more in two minutes than most albums manage.
Manchester co-fronted pop-punk with a sneer inherited directly from Britpop — dual vocals, big choruses, bigger attitude.
Self-made silk — Detroit R&B auteur with a devoted following, self-released and sounding more expensive than most majors.
Johnny Marr
The guitar architecture behind The Smiths, still voicing chords nobody else finds, now fronting records of his own.
Jordana
Bedroom pop that grew into a full band, Jordana Nye writing plainspoken songs about drifting through your twenties.
Confessional South London hip-hop — jazz-warm, tender, and quietly huge, verses about family and flaws delivered like conversation.
Diary-entry pop with a novelist's detail — the 'Good Witch' faithful sing every word, British wit sharpening every heartbreak.
Welsh rock built on political fury and literary reference — and the best guitar solos in Britpop, three decades of conviction deep.
Militarie Gun
Ian Shelton's band bolting hardcore urgency onto power pop choruses, shouting hooks you catch yourself humming later.
Sweat-slicked industrial post-punk — menace, glamour, and whispered filth, a frontman who prowls the crowd like it's his living room.
MOYKA
Norwegian synth pop with widescreen choruses and a cold edge, writing heartbreak at arena scale.
Ms*Gloom
New Constellations
Glittering, game-engine electronic — Australia's most inventive young club producer, chiptune sparkle at rave pressure, drops that sparkle as hard as they hit.
Olive Jones
Electroclash provocateur — filthy drum-machine minimalism and a live show designed to make you uncomfortable, then make you dance about it.
Princess Chelsea
New Zealand chamber pop sung deadpan over toy orchestras, arch and sweet in the same breath.
Megan James's high, clear voice over Corin Roddick's pitch-shifted, chime-heavy production — future-pop that invented a sound the 2010s ran with.
Quarters
Chicago indie rock at its warmest — twangy, generous, quietly great, a band critics keep discovering all over again.
One third of Run-DMC, and one of the voices that made rap a stadium proposition in the first place — history behind the decks.
Rikas
German indie pop with French disco in its wrists, all clean guitars and falsetto.
Rip Magic
ROAR
Owen Evans's one-man psych pop project out of Phoenix, whimsical and just slightly cracked.
Genre-collapsing alt-pop pioneer — 'L.E.S. Artistes' to now, always ahead, new wave and dancehall in one voice.
'Look At The Time' broke him overnight — big-voiced Southern alt-rock with grunge shadows and arena aims.
Viral dark art-pop — spoken-word menace over strings, Gen Z's gothic conscience with a scalpel for a pen.
Strawberry Guy
Alex Stephens writing soft, keyboard led dream pop in Liverpool, the sound of a slow Sunday afternoon.
The Black Crowes
The Robinson brothers' Atlanta band, southern blues rock played loose and loud, feuding and reuniting on a roughly decadal schedule.
Blown-out digital rock built from cheap synths and cheaper distortion — an LA duo whose whole appeal is sounding like a corrupted file.
East LA souldies revivalists — slow-burning, string-laden Chicano soul straight out of the lowrider-oldies tradition, dedicated to the slow dance.
Tipling Rock
Trip-hop's shadow king — the whispered menace of 'Maxinquaye' live, Bristol paranoia thickened by three decades.
Yes, Dave's daughter — and a genuinely arresting voice striking her own path, closer to torch song than stadium rock.
We Are Scientists
Two decades of wiry New York indie rock and standup-grade stage banter, still touring on hooks sharpened in 2005.
Yung Lean
The Swedish teenager who invented a whole sad corner of the internet, grown into a genuine and stranger songwriter.
Sunlit Greek indie-pop that borrows from yacht rock and eighties AOR without irony — breezy on the surface, wistful once you follow the words.
The headliners
Gorillaz — Damon Albarn's animated universe — a genre-omnivorous hits machine and guest-star carousel, two decades of cartoon cover for some of pop's best songwriting. Damon Albarn's cartoon band, which arrives with a guest list rather than a setlist.
The Strokes — The band that rebooted New York rock — a deep catalog of deadpan cool, still untouchable live when the engine catches. The record that reset New York guitar music, played by the people who made it.
Twenty One Pilots — Genre-agnostic arena duo — rap, ukulele, and existential dread with a devoted Clique, lore deep enough for a wiki. Two men generating the noise and the theatre of a much larger band.
Up-and-comers to catch early
Friko — Chicago two-piece whose debut swings from whisper to full orchestral racket.
Fcukers — New York indie-dance trio built for the hour when the tent gets loose.
Balu Brigada — New Zealand brothers making unbothered, hook-forward bedroom pop.
Chezile — Slow, bruised guitar songs that found their audience entirely online.
Sofia Isella — Theatrical art pop with a sharp edge aimed squarely at adults.
Other acts worth planning around
Underworld — Thirty years on and still the most physical live techno act working.
The xx — Negative space as a band policy, rare enough on stage now to count as an event.
Corona Capital 2026 lineup FAQ
When is Corona Capital 2026?
November 20–22, 2026 (Friday through Sunday).
Where does Corona Capital take place?
At the Autódromo Hermanos Rodríguez in Mexico City, the same circuit that hosts the Mexican Grand Prix.
Who headlines Corona Capital 2026?
Gorillaz, The Strokes and Twenty One Pilots, with Mumford & Sons, The xx, The Offspring, Underworld and Pierce the Veil among the top billing.
Have day splits and set times been announced?
Not yet. As of mid-September 2026 the festival's own schedule page was still empty, so this page lists the full bill without days or times. It will update when they post.
How many acts are playing Corona Capital 2026?
72 across the three days.
How do I find the acts I'd like?
Type a few artists you love into the finder at the top of this page. It matches them against this lineup and explains each pick.
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