Harlem's most style-conscious rapper, always a couple of years ahead of the room — cloud-rap haze, chopped-and-screwed detours, and high-fashion swagger folded into records that set trends instead of chasing them.
Governors Ball 2026 Lineup
Three June days in Flushing Meadows: a tight 60-act bill, twenty artists a day, running pop, K-pop, indie and rap across the city's own festival.
Governors Ball is expected back June 2027 (dates aren't announced yet). Until then, here's the full 2026 lineup and the acts you would have loved.
Find the acts you'll love at Governors Ball
Name a few bands you love and we'll scout all 60 acts on the Governors Ball bill for the ones you shouldn't miss.
Get notified when Governors Ball announces 2027 dates
Free account — we'll email you the day it happens, and your saved festivals follow you to every device.
About Governors Ball 2026
Governors Ball ran three June days at Flushing Meadows Corona Park with a tight 60-act bill: twenty artists a day, and almost no filler. Lorde and Baby Keem headlined Friday, Stray Kids and Kali Uchis Saturday, A$AP Rocky and Jennie Sunday.
The 2026 booking leaned hard into the overlap between pop, K-pop and internet-native indie. KATSEYE and Jennie represented one side of that, Snow Strippers, 2hollis and Jane Remover another, with Blood Orange, Wet Leg, Japanese Breakfast and Amyl and The Sniffers holding the middle.
Gov Ball also keeps doing something most festivals its size have dropped: booking local youth programmes onto the actual bill. School of Rock Queens, School of Rock New York and Kids Rock for Kids all played.
Expect indie rock, alternative, pop and indie pop across 60 acts.
Governors Ball 2026 lineup & schedule: all 60 acts
Search it, filter by day, stage or genre. Save anything straight to your schedule.Browse all 60 acts →
Search it, filter by day, stage or genre. Save anything straight to your schedule.
The family ties run deep — elastic, unpredictable rap with pgLang polish and beat-switches that keep entire songs off balance in the best way.
BLACKPINK's coolest-in-the-room star gone solo — sleek K-pop, R&B, and fashion-week poise at main-stage scale, with solo hits that stand on their own.
Velvet-toned bilingual soul that drifts between doo-wop pastiche and perreo without ever raising its voice — 'Telepatía' cool as a permanent state.
The NZ art-pop auteur — brooding, minimal, and generation-defining, back on a headline stage where the whispered verses hit hardest.
K-pop's most self-produced group — noisy, maximalist records written and arranged largely in-house, stadium-scale chaos by design.
Rage-adjacent producer-vocalist making synth-heavy, blown-out digital pop for a very online audience — icy arpeggios, distorted 808s, and hooks that hit like a video-game boss theme.
Absolutely
Amy Taylor might be the best frontperson alive right now — Aussie pub-punk voltage, all sprint and snarl, from a band that treats every stage like a title fight.
Attic-band indie rock with barefoot summer energy — loose, breezy Long Island guitar songs that built a word-of-mouth following from DIY beginnings.
Wry, conversational pop songwriting from Gracie Abrams's longtime collaborator turned solo act — diaristic detail delivered with sharp comic timing.
Sibling duo making fuzzy, playful alt-pop with internet-era intimacy — lo-fi textures and hooks that sound DM'd directly to you.
Dev Hynes's velvety art-R&B — '80s soul textures, jazz chords, and quiet heartbreak from one of pop's most sought-after collaborators.
Pusha T and Malice, reunited — coke-rap scripture over pristine beats, one of rap's great comebacks and a masterclass in brotherly chemistry.
Australian four-piece playing dance-pop as full choreographed comedy — costume changes, deadpan bits, and one of the best live shows on any bill anywhere.
Heartthrob indie-pop — leather-jacket romanticism with pop craft, swooners engineered for the barricade and the long drive home.
Florida songwriter splicing guitar-pop, rap cadences, and a genuinely odd melodic sense — '3 Nights' opened the door; the weirder stuff kept people inside.
NYC's buzziest indie-dance trio — baggy house grooves with downtown cool, like Madchester relocated to a Chinatown basement.
Florida indie rock built for festival fields — 'August' euphoria, surging choruses, and a live energy that outruns the recordings.
Joyce Cisse's sunlit, unbothered indie-pop — the sound of someone who started making records very young and never got cynical.
Gibbs's precision over Alchemist's dusty, soul-sampled loops — one of rap's most reliable pairings, 'Alfredo' chemistry recreated live.
Unhinged Brooklyn art-rock — yelping, swaggering, and critically adored, like the Stones reassembled by art students mid-fever.
Gleefully off-kilter synth-pop — the med-school-dropout-to-viral-star pipeline, '80s drama sung with total abandon, homemade pop that sounds like nobody else's.
Bruised, cinematic alt-pop — Grantham's bedroom-to-BRIT-Award story, small-town detail sung in a fog of reverb, intimacy that scales to festival fields.
Midwest emo's chaotic favorites — screamed choruses, absurd song titles, real feelings, and a crowd that knows every word including the yelps.
Digicore prodigy turned noise-pop auteur — abrasive and gorgeous at once, walls of distortion hiding devastating melody.
Michelle Zauner writes about joy and grief with the same precision, over arrangements that keep getting more ambitious — gong hits and all.
The global girl group assembled through a televised search, built on K-pop discipline but writing for a Western pop chart.
Silky retro-modern R&B with a writer's restraint — every note placed, nothing oversung, late-night soul with a craftsman's patience.
Swaggering queer pop-rock auteur — torch-song vocals, glam guitar, and arena-sized hooks about messy love, '1950' still the calling card.
Lexa Gates
New York rapper and singer whose hazy, half-sung delivery and diaristic writing built a substantial audience online before any industry push.
Diplo's dancehall-electronic party machine — pure festival serotonin, 'Lean On' and a dozen more global smashes in one set.
Slow-burn Atlanta R&B — heartbreak delivered with surgical calm, ballads that cut deeper for never raising their voice.
Midnight Generation
Perth duo — punchy, sunburnt indie rock in the great Australian garage tradition, mates-first energy and hooks to match.
San Diego post-hardcore romantics enjoying a massive TikTok-era second act — the scene's most swooned-over comeback.
British indie-pop with a sharp lyrical edge — bright arrangements carrying much darker subject matter, Croydon storytelling on the rise.
Melbourne post-punks — wiry, literate, buzzing, in the great Australian art-school tradition, sharp songs delivered with nervous energy.
A featherweight soprano over warm, live-band R&B — Chicago's most distinctive voice in the genre, 'Love Me Not' finally making it official.
Glitter-and-grit dance-pop — Y2K excess reborn as main-stage camp, played with total commitment to the fantasy.
Lo-fi electroclash duo — distorted synths and detached vocals for the afterparty, Detroit cool for the post-everything generation.
Perth indie-rock with aching hooks — Australia's biggest new guitar band, 'Booster Seat' devotion at full volume.
Auckland's harmony-stacked power-pop treasures — jazz-school chops, huge hearts, and 'Expert in a Dying Field' proof of mastery.
Harrison Patrick Smith's sleazy, deliberately retro dance-punk — the sound of 2007 Lower East Side, revived without irony and with a better suit.
San Diego trio playing sweet-soul ballads with a period accuracy that never tips into pastiche — lowrider-slow romance, brand new and timeless.
Left pop-punk behind for warm, hazy dream-pop and never looked back — one of the cleaner reinventions in the scene.
Deadpan, hook-loaded post-punk — the Isle of Wight duo grown into a full-blast rock band, 'Chaise Longue' just the opening joke.
Whatmore
Shoegaze revived by someone who found it online — vocals buried so far in the wash they read as another guitar.
Club-circuit electronic project.
Chanpan
Evening Elephants
Texas-raised, Sub Pop-signed bedroom indie — hushed guitar pop with considerably more muscle live than on record.
Canadian pop singer who found her audience online with plainly-worded songs about wanting the wrong person — 'Constellations' and its sleek, downcast follow-ups.
Jimmyboy
Kids Rock for Kids
School of Rock New York
School of Rock Queens
The Backfires
New York quartet trading in lean, retro-leaning guitar rock — bar-band energy sharpened for the current indie circuit.
Villanelle
The headliners
Lorde — The NZ art-pop auteur — brooding, minimal, and generation-defining, back on a headline stage where the whispered verses hit hardest. Friday headliner: enormous emotional weight carried by very few notes.
Baby Keem — The family ties run deep — elastic, unpredictable rap with pgLang polish and beat-switches that keep entire songs off balance in the best way.
Stray Kids — K-pop's most self-produced group — noisy, maximalist records written and arranged largely in-house, stadium-scale chaos by design. K-pop's most self-produced group, headlining Saturday.
Kali Uchis — Velvet-toned bilingual soul that drifts between doo-wop pastiche and perreo without ever raising its voice — 'Telepatía' cool as a permanent state. Bilingual neo-soul that drifts between Spanish and English mid-song.
A$AP Rocky — Harlem's most style-conscious rapper, always a couple of years ahead of the room — cloud-rap haze, chopped-and-screwed detours, and high-fashion swagger folded into records that set trends instead of chasing them. Harlem's most style-conscious rapper, closing the festival.
Jennie — BLACKPINK's coolest-in-the-room star gone solo — sleek K-pop, R&B, and fashion-week poise at main-stage scale, with solo hits that stand on their own. The Blackpink member's solo turn, co-headlining Sunday.
Up-and-comers to catch early
Audrey Hobert — Sharp, funny, conversational pop from a songwriter who arrived fully formed.
Flowerovlove — Sunlit, unbothered indie-pop from someone who started very young and never got cynical.
Hemlocke Springs — Lopsided, brilliant synth-pop made after abandoning a graduate degree.
Wisp — Bay Area shoegaze that went from a single viral track to a real catalogue very fast.
Hannah Jadagu — Texas-raised, New York-based indie pop recorded with a deliberate bedroom looseness.
Radio Free Alice — Brooklyn indie rock with an unusually well-developed sense of dynamics.
Other acts worth planning around
KATSEYE — The global girl group that broke out of a reality-show format into something genuinely good.
Blood Orange — Dev Hynes's soft-focus 80s R&B, built from collaborations.
Amyl and The Sniffers — Melbourne punk with one of the most physical frontpeople working.
The lineup by day
Friday June 5 through Sunday June 7, twenty acts per day.
Friday lineup (June 5)
Lorde, Baby Keem, KATSEYE, Pierce the Veil, Mariah the Scientist, The Dare + 14 more
Saturday lineup (June 6)
Stray Kids, Kali Uchis, Major Lazer, Blood Orange, Wet Leg, Amyl and The Sniffers + 14 more
Sunday lineup (June 7)
A$AP Rocky, Jennie, Dominic Fike, Geese, Clipse, Freddie Gibbs & The Alchemist + 14 more
Governors Ball 2026 lineup FAQ
Who headlined Governors Ball 2026?
Lorde and Baby Keem on Friday, Stray Kids and Kali Uchis on Saturday, and A$AP Rocky and Jennie on Sunday.
When and where was Governors Ball 2026?
June 5–7, 2026, at Flushing Meadows Corona Park in Queens, New York.
How many artists played Governors Ball 2026?
60, twenty per day across the three days.
Does Gov Ball book local acts?
Yes. Alongside the touring bill, School of Rock Queens, School of Rock New York and Kids Rock for Kids all played in 2026.
Festivals like Governors Ball
More festivals
Festivals in June 2026 →Music festivals in New York →More Indie festivals →More Pop festivals →More EDM festivals →Full festival calendar →