Rock en Seine 2026 proves it’s well worth a trip on the Eurostar
The Parisian festival reminded me that the best part of live music is the people you share it with.
Photo: Marina Viguier
The sun was blaring in Paris on the first day of the 22nd edition of Rock en Seine, but that didn’t stop fans from flocking to the historic Saint-Cloud National estate for a stellar lineup.
Kicking off the festival on the main stage was French-Korean electropop artist miki, who sauntered on to the stage in a cowboy hat as she delivered a captivating rock-infused rendition of her song miki cowboy. A great choice for an opener, as the danceable tune was delivered with an abundance of energy and confidence that carried through the rest of the set.
The audience, however — who, at this point, seemed to be made up of mostly Tyler, the Creator fans claiming their barricade spot early — didn’t always match her energy. This became most apparent when miki performed her hit particule amidst the crowd and asked the audience to run around her during the song’s climax. While it was a nice idea in theory and probably made for some cool photos, most of the crowd were reluctant, which made taking part a clunky experience that left you stumbling into people and with a worse view than what you started with. It’s the kind of stunt that, if pulled off, creates a memorable experience but requires most of the audience to get on board to truly work. Ultimately, miki proved she’s a pop act to keep an eye on, but the audience response left a little to be desired.
Next up was American singer-songwriter Ravyn Lenae, who delivered a beautiful performance filled with excellent vocal delivery that left you hanging onto every line. But the real surprise was the lyrical and free-flowing dancing she employed through much of the set. It was a great visual translation of how much of her music feels.
The early songs were pretty, but the high point came in the back half of the set. Handle, which veers more into rock territory than her usual work, translates fantastically live and its distinct sound immediately grabs your attention. She ended the set predictably on crowdpleasing hit, Love Me Not, which was clearly the moment the crowd had been waiting for as they erupted at the first note.
Photo: Louis Comar
American musician sombr — aka Shane Boose— took to the main stage as the sun began to set, and he certainly made an entrance. Cameras followed him as he navigated from his green room to the stage with a quick detour to do some push-ups. He then emerged in a black leather outfit, taking his place on stage, surrounded by set design emulating a New York street corner.
The thing with Boose is he had the look of a rising rock star and the onstage energy of one, but I think he still has some growth to truly be one. His backing band were fantastic, but their presence occasionally made Boose seem like a supporting character in his own set. Like in Homewrecker, where his vocals appeared to get lost in the heavier instrumental mix. That’s not to say he’s not good; more stripped-back songs like My Body Isn’t Ready gave him more room to shine.
His greatest strength appeared to be how he connected with the audience and the warmth he brings to the stage. During an instrumental break of back to friends, he moved through the crowd to exchange hugs and hellos with his fans. It was a touching moment that made it clear how grateful he was to be there.
The set ended on a slightly odd deja-vu-inducing choice to play the entirety of 12 to 12 twice, as Boose seemed keen to hammer home the Paris connection, but the performance itself was fun, and the crowd didn’t seem to mind as it’s one of Boose’s best.
Tyler, the Creator closed out the first day with an awe-inspiring set filled with a medley of fan favourites and new hits alike. Surrounded by pyrotechnics and clad in a bright yellow leather suit, Tyler delivered a truly unforgettable set. Tyler performs solo to a backing track and, despite the simple setup, is able to keep the audience captivated throughout and deliver a uniquely visceral experience.
The energy in the crowd was electric, but their cheers quickly turned to playful booing as Tyler informed the crowd that it “turns [him] on”. The bit continued throughout the set, much to Tyler’s amusement.
Highlights included performances of newer tracks like Sugar On My Tongue and St. Chroma as well as a medley of his greatest hits, including ARE WE STILL FRIENDS?, which utterly delighted fans. He closed out the night with a rendition of his Kali Uchis collab, See You Again, culminating in a goosebump-inducing moment where fans sang along with Tyler for an acapella section of the tune. Sharing such a beautiful moment with an artist and a crowd full of strangers is what live music is all about.
Day two commenced with a spirited set from Irish rock group Florence Road on the main stage and an exhilarating genre-bending experience from Mexican-American artist Jean Dawson over at the Boursobank stage, with both delivering excellent sets that should put them on your radar.
Shortly thereafter, however, the weather took a turn for the worse and the heavens opened up, turning the dry grass to mud slush. “Are you soaking wet?” Djo enquired as he commenced his set full of back-to-back hits. Despite the inclement weather, hordes of people eagerly gathered in front of the main stage dressed in homemade merch and Scoops Ahoy costumes. The enthusiasm was palpable and utterly infectious.
Highlights of the set included Link — which sounds even better live — a rendition of Delete Ya that made me further appreciate its brilliant arrangement, and a beautiful closer with End of Beginning, which, in a festival context, almost felt anthemic. An unfortunate and surprising absence on the setlist was Back On You, which translates brilliantly live but understandably probably took a backseat to some of his bigger hits.
Djo has a sense of comfort and relaxed energy on stage that makes you feel less like you’re watching a show and more like you’ve been invited round to a mate’s to hear some new songs he’s been working on. To say he’s charming isn’t breaking new ground; he’s Steve Harrington after all, but it really adds to his performance.
The night ended with me crossing an item off my personal bucket list as I saw Lorde take to the stage. To say she lived up to high expectations would be underselling it. I am admittedly biased. Like many pop fans growing up in the 2010s, Lorde’s music shaped much of my taste and soundtracked seminal moments through my teens. Despite her more elusive nature, much like Taylor Swift before her, Lorde is an artist many feel like they grew up with.
That deep-rooted connection is something that felt evident very quickly. The energy in the crowd was unbelievable as I saw thousands of people sing along to every single word. Lorde made a clever choice with the setlist, alternating between newer tracks from Virgin and from the past decade or so that she’s been making music. Opening with a snippet of Royals, then shifting into What Was That, instantly got the crowd going.
The show was a feast for the eyes and ears as Lorde bounded across the ever-evolving stage. The Louvre saw her aptly on top of a floating pedestal like a work of art. Liability felt like a group therapy session as Lorde’s earnest delivery of one of her most vulnerable tracks moved me to tears. The simple staging of Lorde standing in front of colourful rays of light offered a well-timed moment of stillness amidst an otherwise adrenaline-inducing set. But quickly we’re back to dancing feverishly as Hammer and Supercut echo out over the crowd. Getting to see Lorde live was bound to be a good experience, but getting to see her amidst a crowd matching her energy in spades — now that’s what made it one of the best live experiences of my life.
Day three further reminded me that music is best when shared, as I kicked off the day with a fabulous set from Irish folk group Kingfishr. They had some big shoes to fill as they took over the main stage set from CMAT, who unfortunately pulled out due to illness, but they very well made up for it. I was instantly hooked from the first banjo pluck. Banjoist Eoghan McGrath gives their songs so much character and depth.
The band also seemingly summoned the Irish, who made their presence known during Kileach as they all sang along. The crowd in general was very receptive. Even when they weren’t familiar with the songs, they seemed to quickly pick up the lyrics and join in a singalong for the second chorus.
It takes a certain skill to make a festival set feel intimate and yet Kingfishr managed to do so as they sang Shot In The Dark, an acoustic tune about taking a risk on a career in music, amidst the crowd. It was a beautiful and moving moment, allowing the group to reflect on those early uncertain career moments now amidst a massive international crowd. Lead singer Eddie Keogh had previously remarked that he never expected them to be playing in front of such a huge crowd in Paris.
A standout for me was The Sun Will Never Settle, one of their newest songs, a heartwarming folk tune that had me grinning ear to ear as the crowd danced and sang along. Keogh’s distinctly earthy vocals delivered the lyrics with so much heart you can’t help but join in. Despite being previously unfamiliar with the group, it ended up being one of my favourite sets of the festival.
Afterwards, I followed the crowd over to the Boursobank stage to catch Scottish rock group Biffy Clyro for a significant gear shift. While their occasionally abrasive approach to rock isn’t fully to my taste, the sizable crowd were clearly loving it. The addition of talented violinists, Annemarie and Gilly, however, caught my attention and had me sold as they added an unexpected texture to the arrangement.
Wet Leg then took the main stage for a fun rock set that saw Rhian Teasdale emerge from a cloud of smoke with arms flexed. I’d seen them open for Harry Styles back in 2023 when they were still a two-piece, and the evolution is clear. The addition of three new members creates a fuller and more guitar-driven sound. It also allows the notoriously shy Hester Chambers to remain on the fringes of the spotlight and focus on the music. Although the new members are a welcome addition, some of my favourite moments from the set were watching the interplay between Teasdale and Chambers as they locked into a guitar duel.
It was an evening of rock ‘n’ roll, as I ended the night with a much-anticipated appearance from American blues-rock group The Black Keys on the main stage. Gold On The Ceiling and Howling For You had people losing their minds. Understandably so, as their Americana-infused sound really lends itself to live performances — it almost feels engineered for it. A nice surprise was a very compelling cover of The Stooges’ I Wanna Be Your Dog that commands your full attention as the group is bathed in bright red lights.
While I’m not sure on numbers, it was the set where I felt the presence of the crowd the most, as people leaked onto the walkways and eager fans bulldozed their way forward in search of a better view. This set signalled a shift of sorts. It was a noticeably older crowd than much of the rest of the festival, which makes sense considering the imminent arrival of Nick Cave and The Bad Seeds and other legacy rock acts in the days to come, such as Deftones and The Cure.
Overall, the opening days of Rock en Seine are sure to be remembered for their fantastic lineup and haphazard weather. The moments I’ll carry with me were the ones shared with a bunch of strangers singing their hearts out to their favourite artists in a muddy field.