Photo of KATSEYE by Michael O’Connor
Being back on Hinterland grounds truly felt like a blessing. The entire air feels freeing here, and St. Charles (Iowa, not Missouri) really offers a unique getaway where you’re able to be present and enjoy some great music. With the extra day this year especially (and their new monolithic, permanent stage), the four-day festival hosted a lineup intentionally created to showcase a full spectrum of immeasurably talented musicians.
Porch Light opened for the festival with authority. I’ve covered this band before, and time and time again I am impressed by lead singer Jackie Uhas’ vocal power. It’s striking how consistently they deliver, and every time they perform, it feels as if they’re trying to earn your respect from scratch. As the very first act of the weekend, they set the bar extremely high for the rest of the artists to follow.
Oklou drifted in like a dream sequence. Her set was submerged in an ethereal wash of underwater-coded visuals, and synth melodies that moved like currents. Midway through her set, she stopped the music entirely after noticing a fan in need of medical attention and handled the moment with calm and grounded care. Her awareness was immediate, and that attention really showed how cognizant she was of the crowd. She was able to seamlessly slip back into her track, handling the entire situation perfectly.
One of my favorite artists all weekend came next. Audrey Nuna arrived with an elegant white outfit flanked by backup dancers who deserve their own spotlight. Each of them holds so much talent in their fluid yet razor-sharp movements. Nuna herself moved effortlessly between articulate rap verses and genuinely breathtaking vocals, two modes that rarely coexist this seamlessly. The crowd lit up when she performed “How It’s Done” from Netflix’s KPop Demon Hunters, turning the Hinterland hill into a full-volume sing-along. A set truly overflowing with talent.
Ashnikko’s Trinkets tour production translated perfectly to the festival stage. Everything was polished: the transitions, the humor threaded between tracks, the choreography. Her set highlighted perfectly how to scale theatrical pop to an outdoor crowd.
Beabadoobee stepped into a light sprinkle of rain. She rotated through 10 guitars during her set like they were extensions of different emotional registers. Her voice is genuinely angelic, and at the same time gnarly guitar solos cut through the sweetness. With the rain especially, she had one of the most musically emotional sets of the day.
By the time KATSEYE took the stage, the rain had picked up, but the crowd didn’t seem aware. The excitement was wild; fans screamed collectively at a higher decibel level than I have ever heard before, even with one member absent due to illness (Sophia was missed). Seeing KATSEYE feels like witnessing a generational moment. It seemed like they came together with the intention to be a group meant for performing, and their precision even in the downpour was unreal.
Day 1 was a powerful statement. Hinterland opened with artists who each brought their own world, and each crowd was totally there for each of them. If Hinterland 2026 wanted to prove its range, ambition, and ability to turn the weather into their very own atmosphere, they accomplished all of it. | Michael O’Connor
