Since its inception more than a decade ago, All Things Go Music Festival has stayed remarkably true to its mission – uplifting women and LGBTQ+ artists – while keeping music front and center. Amidst a myriad of high-profile music festivals that often feel more synonymous with a photo op or an aesthetic than the artists taking the stage themselves, All Things Go has fostered a culture that places the focus on talent, inclusivity, and community. Though the festival lineup historically tends to skew indie-pop, this year featured a more diverse range of sounds and genres, with more than 45 artists across two stages and three days. V returned to the beloved festival’s original location, now held at Merriweather Post Pavilion, to catch an incredible lineup full of established icons, rising stars, and V alums.

Australian EDM artist Ninajirachi delivered an electrifying performance at the Chrysalis Stage on Friday afternoon, where her distinct, self-taught production skills were on full display. Fresh off her breakthrough album I Love My Computer, her DJ set evoked a sense of fun-loving nostalgia with standout tracks like “iPod Touch,” as infectious energy coursed through the crowd.

V161 cover star Slayyyter, once an electro-pop cult favorite, has spent 10 years working toward her big break. With WOR$T GIRL IN AMERICA, the world has finally caught on. That excitement and energy were evident at All Things Go, where the crowd was largely made up of longtime Slayyyter listeners. Performing hits like “CRANK,” the experimental artist had every member of the audience on their feet. But it was her encore—her latest infectiously catchy hit “brand new chanel$,” followed by its predecessor, “BEAT UP CHANEL$”—that solidified Slayyyter’s status as pop’s next big thing, on par with some of her own personal heroes.

“Third time’s a charm!” Ethel Cain affectionately exclaimed to the crowd as she returned to the All Things Go Pavilion Stage (she graced the same stage in 2023 and the Chrysalis Stage in 2024). This year’s performance, however, marked an important milestone for the V141 cover star. After 107 shows over the course of nearly a year and a half, she took her final bow on her Willoughby Tucker Forever Tour, and the finale did not disappoint. With a setlist featuring some of Cain’s biggest pop heavy-hitters (“Crush,” “Dust Bowl,” “American Teenager”) and most devastating stripped-back ballads (“Nettles,” “Hard Times”), she showcased her range and vocal prowess, which somehow seem to reach new heights with every show.

Another returning act, MUNA took the stage Saturday to a warm reception. As four-time All Things Go performers, the trio are seasoned veterans by now. Despite the upbeat nature of their latest album, DANCING ON THE WALL, the band brought a distinct tenderness to their performance, reminding audiences of their deep friendship and long history together, which dates back to their college days at the University of Southern California. This was especially evident in a standout moment when, sandwiched between classic hits like “Silk Chiffon” and “I Know A Place,” MUNA threw in “Crying On The Bathroom Floor,” a deep cut from the band’s debut album, About U.

V159 cover star Zara Larsson delivered perhaps the set with the most star power of the weekend during Saturday night’s closing slot at the Chrysalis Stage. After toeing the line between global commercial success and Swedish pop stardom with a small-yet-loyal following for nearly two decades, Larsson has officially broken through to reach massive superstardom with her fifth studio album, Midnight Sun. Her setlist was chock-full of bangers, from older hits like “Symphony,” “Ruin My Life,” and “Never Forget You” to the tracks that have defined the last few years, including “Stateside,” “Eurosummer,” and the titular “Midnight Sun.” Complete with her unmatched vocals, incredible dancing, and several crowd-favorite moments (selecting a lucky fan to perform the “Lush Life” dance alongside her; audience members imitating her airlifted dolphin pose), Larsson delivered a memorable evening and then some.

Despite taking the Chrysalis Stage at 12:30 p.m. on a rainy Sunday, Trousdale undeniably delivered one of the most striking sets at All Things Go. The trio seamlessly blended country and indie-pop with their addictive harmonies, leaving fans mesmerized by performances of songs including “Secondhand Smoke,” “Wouldn’t Come Back,” and “If I’m Honest.” If their own catalog wasn’t proof enough of Trousdale’s collective status as vocal and instrumental powerhouses, the group even pulled off the difficult feat of covering Fleetwood Mac’s “The Chain.”

From the first notes of her piercing breakup anthem “Savannah,” it was clear Jensen McRae was the perfect act to continue the moody atmosphere set by Trousdale, albeit from underneath the pavilion. Between “Novelty” and “Massachusetts,” McRae chronicles the demise of a situationship like no one else. Coupled with her incredibly unique voice and lovably awkward demeanor, her songwriting makes her a captivating presence onstage.

Fresh off the release of her eighth studio album, Popstar, V93 cover star Tinashe is re-establishing herself as a force to be reckoned with. She made the most of an hourlong set at All Things Go, with the first half devoted to performing her catalog and the second to showcasing her innovative hyperpop DJ skills. With remarkable visuals, dancing, and stage presence, Tinashe is proving herself to be more than an artist with a handful of breakout hits—she is reaching new heights in the eyes of critics and audiences alike. The notoriously prestigious Pitchfork recently rated Popstar a 9.0, calling it “the best pop album of the year.”

V alum Remi Wolf wasn’t initially supposed to play All Things Go this year. Though she appeared on the Chrysalis Stage in 2023, she was a last-minute addition to the 2026 lineup, stepping in for a brief, 30-minute slot to fill in for Sienna Spiro. The unplanned performance marked Wolf’s first live show in over a year as she prepares to release her third studio album, Mud, due October 9. The performance effectively served as a sneak peek at the album and its new era, featuring lead singles “Bottle” and “Twiggy,” along with the live debuts of “I Won’t Cry” and the unreleased tracks “Champagne” and “Covered In Mud.” In a fun, unexpected moment, Wolf finished with a new variation of her hit track “Soup” to match the sonic evolution of her latest project.