Once again, the San Isidro Hippodrome once again transformed into that parallel universe that each year creates Lollapalooza Argentina. Inaugurating the second decade of the festival in the country, on Friday it began its eleventh edition and last night it showed a range of proposals that went from the glamor of Chappell Roan to the telluric music of Soledadwith several intermediate stops.
“I’m not dramatic. You know what I want. We’re leaving the planet and you can’t come. I’m done with all these hyper mega depressing boys like you. Oh yeah, I need a super graphic, ultra modern girl like me.” Without mincing words, Chappell Roan was there, in front of thousands of girls who, if they weren’t like her, at least knew every syllable she pronounced in the first song of her recital (“Super Graphic Ultra Modern Girl”) and in the hour and a half of the show ahead of her, the one she offered as one of the central numbers of the second day of the Lolla.
Chappell and his fans were there, to take courage with the most vigorous songs (“Hot To Go”), to let themselves go with the most tear-jerking ones, like “The Subway.” Also to get into the time tunnel with an old classic like “Barracuda”, which the band Heart popularized far away and long ago.
Not only with a song does Roan flirt with this. The first thing that was seen of his concert on the screens was the image of an animated film, with a horror book that opened to tell a story. And the singer’s game was always between that character of maleficent, which she uses to introduce the public to her show, and the collage she builds between that bad/good story crossed by the aesthetic that goes from burlesque to drag, with that retrofuturistic touch of everything apocalyptic that emerged in the eighties. His music lacks a sophistication that might alienate his audience. On the contrary, it is always absolutely ATP, very focused on the female audience, the one that does not let any of its gestures go unnoticed. It draws on all the conventions of pop, it can approach the sleaze of Lady Gaga and the sweetness of Taylor Swift (just to name two extremely attractive figures of these times), but it does so from its own aesthetics.
Although her career did not begin yesterday, in the last two years the girl from Missouri began to climb exponentially and that allowed her to take the lead in the festival lineup and captivate an audience like the one on Saturday.
A while earlier, on a stage facing each other, a Scotsman added a touch of spiced whiskey to a handful of songs. He’s not yet 30 and has already had to weather some storms. Lewis Capaldi he has left some behind (he suffers from Tourette syndrome). That allowed him to publish an EP in mid-2025 and return to the stage.
The Scot sang his “adult contemporary” repertoire last night, in the last part of the second day of Lolla. Although the description is still used only inside the recording industry, his style long ago would have been considered with that label on a massive scale. That rock and pop that sounds friendly and resonates with those generations that are no longer teenagers and young people. The curious thing about the matter is that in front of its stage there was a large centennial audience, which represents, each year, the bulk of the festival’s audience.
“I’m Lewis Capaldi,” he said, as if he needed an introduction and without being surprised by the applause. Hundreds of kids in front of the stage and hundreds more behind, sitting on the grass, listening to him sing in a whisper, barely accompanied by the piano, and with all the strength of his voice, well supported by his band. Lewis was a change of scenery, for a Sanisidrense night that had different intensities. And he left absolutely adored by the local public.
With more clouds than the previous day, but without much respite from the heat of what remains of the summer, Saturday began at 1:45 p.m. with the folkloric urban sound of Let’s be savedthe confessional pop of the Venezuelan singer Joaquina and the irreverence of Marteinstarting a day in which diversity would continue to mark the pulse of the festival.
Little by little and without haste, some of the attendees began to explore the place and its proposals, preparing for another long day full of music, while the most anxious and cautious were already securing a place nearby on the fence to have a privileged view of their favorite artists. Throughout the property there were already some looks showing nods to some of them, such as cowboy-style hats Chappell Roan and blue wigs referring to Addison Rae.
Among other interesting proposals of the day were also the K-pop of the South Korean group Riizethe frenetic electronics of Skrillex and for the little ones Panama and Circus like the highlight of Kidzapalooza.
At 18, started one of the most anticipated shows of the day: the first participation of Soledad Pastorutti and with it the landing of folklore in the festival. “On the count of three Sapucai, Lolla!”, the artist harangued just before starting her presentation. “La Sole” brought happiness and family spirit to the afternoon. As her show progressed, more people came to see her. “What a cape that is,” “It breaks it,” could be heard among the crowd. With his usual charisma, he immediately raised the energy of the venue and got hundreds of children and adults to “flash” improvised ponchos with hoodies, purses and handkerchiefs.
The artist took a tour of some of the most emblematic songs of folklore such as “Tren del cielo”, “A Don Ata”, “The Humahuaqueño”, “The Bahian” and the Peruvian cumbia classic “Cariñito”. “Thank you with all my heart for this beautiful dream afternoon. I started when I was 15 years old at a festival thinking that there was only one music and today I confirm it. It is not easy to find places for those of us who make grassroots music but when we do it it feels genuine,” La Sole highlighted with emotion upon seeing the good reception of the public with his performance. And it is difficult to think that Perry Farrell in 1991, when he inaugurated Lollapalooza in Arizona, would have imagined that the festival was going to cradle one of the exponents of Argentine folklore on one of its stages. To the surprise of those present, the duo Miranda! He took the stage to perform with La Sole a pop-tinged version of “Let Nobody Know My Suffering.”
After an hour of show, “El tifon de Arequito” said goodbye in complete communion with the audience: “Thank you to those who came from far away, to those who came with ponchos and headbands and to the curious. This is a wonderful country. I love you until next time!”
Pop took over the afternoon by Ángela Torres, who last year launched don’t forget metheir first album, and which also made its debut as part of the festival’s lineup. With a large audience and a rather theatrical staging, in which she appeared with an entourage of dancers in what simulated the VIP section of a red carpet, the singer performed some of her songs such as “Vértigo” and “Favorita”, as well as “Sinvergüenza”, the song she shares with Emanero, Karina and J Mena.
In addition, it also surprised with some covers such as “Luna de Miel en la Mano” by Virus and “La Niña de Fuego”, a song that is a tribute to her grandmother, the actress Lolita Torres. “This song is very important to me, I always keep it in mind,” said the performer, before singing “Como la cicada”, by Mercedes Sosa, and remembering the importance of memory: “It seems important to me to say that we are fifty years from March 24, 1976. It is a time that many of us did not live in and that is why I feel that it is very important that in the coming years and forever we take responsibility for memory, truth and justice. May what happened never happen again.”
Able to turn glam aesthetics and catchy choruses into vehicles to talk about identity, fame and cultural contradictions, on the other side of the venue the Welsh singer Marina – known for much of her career as Marina and the Diamonds – took over the Flow stage with her alternative pop. True to her style, which at times flirts with the imaginary pin-up, dressed in a yellow bodysuit and a dark corset, the artist had a warm reunion with her Argentine fans and gave them a medley of various parts of her discography, with new songs such as “Princess of power”, from her latest release, through her time as Electra Heart with “Primadonna” and “Bubblegum Bitch”, to the old days of The Family Jewels with “Are you satisfied?” and “I am not a robot”, and an electric version of “Hung Up”, the Madonna classic.
Since Paulo Londra freed his voice (the one that was captive due to contractual issues in other latitudes and that even reached conciliation forums) his work changed drastically. Each step he takes seems more like the result of a process than an adventure, although there is still some vertigo in everything he undertakes. Only in recent months did he sing at the Viña del Mar Festival (where he won two awards, Gaviotas de Oro and Plata). For 2026, he plans for the first time, shows in Los Angeles and New York, and a tour through Peru, Mexico, Chile, Colombia and Paraguay. In 2019 it was his last performance at Lollapalooza and he arrived very emboldened. “We return to the Lollapalooza stage, at home, Argentina, I’ll wait for you there, let’s break it,” he wrote on his networks.
When there was still the end of the last song of Marinaon the Flow stage, a herd of boys and girls came out in procession to the Samsung stage; first walking, then with a fast trot, it was not a matter of Paulo Londra’s crushing “Perhaps” catching them halfway. Outside of Kidzapalooza (where everything is aimed at children), the audiences of Córdoba and La Sole were the youngest that the festival calls for. The average, which is young, was joined by a number of children (accompanied by fathers and mothers) and adolescents who are just going through the first years of secondary school. They arrived on time to see Londra and did not miss out on singing. From “Perhaps”, the powerful “Plan A”, the reggaeton “Por eso vine” and the lilting “Maldita Abudora” to the rest of a repertoire that had almost no respite, except for some very brief comments.
And there were surprises. When there was still half an hour left to finish her show, María Becerra appeared on stage and, if there were any people a little further away from the stage, as soon as they heard her voice they gathered around to listen to them sing “Ramen for two” together. It was already night and the festival began another instance of its own logic.
On the Perry’s stage, which this year had a technical redesign to provide an immersive and involving experience, it was the turn of one of the most disruptive proposals on the lineup. Six Sex She arrived with a presentation marked by the provocative energy that characterizes her: twerking, intense choreography and little clothing, reinforcing the erotic, performative and sensual aesthetics of her show. “I love being here. Argentina, the best country,” said the singer, who during the set performed “I’m a Star” with guest Juana Rozas, as well as “XOBXO” with Fiah, generating one of the most celebrated moments among the audience. Towards the end, he also sang “Tócame”, a song he shares with Dillom, closing a performance full of attitude, heavy beats, sensuality and a strong stage presence that reaffirms his identity within technopop and Argentine alternative reggaeton.
Lollapalooza 2026 tickets are distributed along Márquez Avenue: Santa Fe y Márquez; Márquez and Int. Aphalo and Márquez and Tellier. The means of transport extend their time slots. Trains Miter Line (San Isidro – Belgrano C – Retiro): night service from 11pm to 3am. Bus lines near the San Isidro Racecourse: 60, 168, 203, 333, 338, 343, 365, 371, 407, 437 and 707.
“The experience also evolves in the field of well-being with a new Relaxation Zone that functions as a true green oasis in the heart of the property, with areas of shade and vegetation designed to disconnect from the intense rhythm and recharge your batteries without losing the essence of the festival,” the production reports.
Around the main stages, there will be a large window of food outlets (50 in total), brand and activation stands, hydration sectors and the classic green space. “Faithful to caring for the environment, Lollapalooza will continue to promote initiatives and spaces such as Green Spirit, Rock & Recycle and the alliance with Friends of Patagoniaactively promoting the reforestation of native forests. This year, the Rock & Recycle program renews its proposal with an unmissable incentive: participants will be able to participate for a Golden Ticket to access the best DF Entertainment shows throughout 2026.
As in previous years, the only means of payment will be Lollacashless. To speed up purchases within the property, the system will be the only means of payment for gastronomy, drinks and merchandising. It is essential to have collected the bracelet in advance at the authorized exchange points to be able to enter and consume. It is recommended to load money through the official Lollapalooza Argentina website before attending, to avoid lines.
For those who wish to enjoy the shows without additional charges, the festival offers a locker service. Measuring 45 cm x 31 cm x 52 cm, these spaces have enough capacity for two motorcycle helmets or two medium backpacks, allowing you to store belongings safely during each day of the weekend.
To be updated with all the details, changes or additions, please You can access the festival app. There you can check all the information of the line-upsschedules and maps of the property without the need for an internet connection.
Starting at 12, the entire festival can be seen live through the streaming that Flow will carry out on 4 of its channels (605, 606, 607 and 608), in which it will broadcast, from the beginning to the closing, all the complete shows from the different stages. Channel 605 presents the Flow stage and a proposal for its own content that will be carried out between shows. This channel hosted by hosts It will present interviews with the bands, color notes with mobile phones from the field, great guests and different columnists. For their part, channels 606, 607 and 608 will be dedicated to the Samsung, Perry’s and Alternative stages.
