Kilby Block Party 2026 Recap

Kilby Block Party has reached the rare point where it no longer feels like a secret, but it still hasn’t lost the feeling of one. What began as a one-day celebration of Kilby Court’s 20th anniversary has grown into a three-day festival at the Utah State Fairpark in Salt Lake City, where its seventh edition unfolded May 15–17, 2026. This year’s lineup was anchored by headliners Turnstile, The xx, and Lorde, drawing tens of thousands of fans each day, and despite its massive draw, the festival still managed to maintain that sense of intimacy and community that made it special in the first place. But the music was only part of what shaped the weekend.

Getting In, Getting Around, and Moving Through the Grounds

Getting to and from the festival was more organized than I expected for an event of this size. Alternative transit wasn’t just encouraged, but actually supported in ways that made it a realistic option for many attendees. Kilby Block Party offered a bike valet sponsored by GreenBike. The valet, which was free, allowed festivalgoers to park personal bikes, and GreenBikes were also available at no cost throughout the weekend with a festival ticket. Seeing how many people arrived by bike made the setup feel intentional, especially in a city where cycling is already part of everyday life for many. There was also a designated Lime scooter drop-off and pickup area, making it easy to ride in and out without much planning. Public transit was another advantage, with a lightrail stop located right outside the venue, easing arrival and departure flow considerably.

For everyone else, rideshare and general drop-off traffic moved more smoothly than expected for a festival this size. It still got busy at peak exit times, but it never fully gridlocked the way larger events often do when everyone leaves at once. I personally opted for premium onsite parking and had one of the smoothest in-and-out experiences I’ve ever had at a festival.

Once inside, getting between stages was very manageable. The distances are real, but not exhausting. I never found myself second-guessing whether or not it was worth making the trek across the grounds to catch a set on another stage. You can make the move and still get there without rushing, and that ease of movement ends up mattering more than it seems like it should.

Accessibility on the Grounds

You could see accessibility built into the festival layout from the moment you arrived. There were clearly marked accessible viewing areas at major stages, including raised platforms at the Kilby and Lake stages with reserved ground-level sections, as well as designated accessible viewing at the Mountain and Desert stages and in VIP areas. These spaces were visible, actively used, and integrated into the normal flow of the festival rather than set apart from it.

Beyond mobility access, ASL interpretation was provided during sets, and The Access Center provided quieter spaces for neurodivergent attendees to step away and reset, along with accommodations for parents and caregivers attending with children.

Safety and Comfort on the Grounds

Just as noticeable as the festival’s accessibility efforts was the attention paid to attendee safety and comfort throughout the weekend.

Day One brought intense heat, and medical situations inevitably arose in the crowd. Artists were great about pausing their performances when fans needed assistance to ensure they were getting the help they needed, and security and medical personnel responded with impressive speed.

That same focus on safety remained visible when conditions changed on Day Three. As wind and rain moved through the grounds, video screens were lowered to the ground as a precaution, reflecting a willingness to prioritize attendee safety over maintaining the usual festival presentation.

Water refill stations were easy to find and heavily used throughout the weekend, particularly during the hottest parts of the day. While portable restrooms were available, attendees also had access to indoor restroom facilities throughout the grounds. Indoor facilities are a rarity for most festivals, especially in GA areas, so this was one of several small details that made the weekend noticeably more comfortable.

There were also plenty of places to take a break when needed. Open grass areas provided room to sit and recharge, while oversized banana and sunglasses-shaped seating installations and other gathering spaces offered alternatives to standing between sets. While the festival was still filling out, it was easy for fans to lounge in the grass and enjoy a few sets. For those who were looking to escape the elements, several indoor spaces, including the photo gallery, merchandise area, and the silent disco, provided relief from the heat on Friday and shelter from the cold rain on Sunday while also offering attendees something to explore between sets rather than simply waiting for conditions to improve.

Food and Beverage Highlights

Food vendors saw steady business throughout the weekend, but no line was more consistent than the one at World’s Best Corndogs. At nearly any point during the festival, a crowd could be found waiting for one of the truck’s signature footlong corndogs. Several attendees described them as a festival tradition, and more than one person insisted the honey drizzle was worth the wait. Even with the constant demand, the staff kept the line moving at an impressive pace.

Cult Coffee also developed what could only be described as a cult following of its own. Serving “fuel for the setlist” in the form of cold brews, lattes, matcha, and chai, the stand maintained a steady line throughout all three days. Girls Who Smash proved equally popular, drawing crowds for its smashburgers from open to close. While I didn’t get the chance to try one myself, they were clearly a favorite among attendees.

The overall food selection offered a wide range of cuisines along with vegetarian and vegan options. Pricing generally fell in line with what attendees would expect from a festival, though some items felt slightly more affordable than industry norms. Alcoholic beverages, in particular, were noticeably less expensive than at many comparable events, with 24-ounce beers typically priced around $13–14 rather than the $20-plus often seen elsewhere.

Sponsors, Activations, and Things to Do Between Sets

One of the more surprising aspects of the weekend was how well the sponsors and activations blended into the festival experience. Rather than feeling like obvious marketing stops, many of them offered something attendees genuinely wanted, whether that was shade, food, activities, or simply a place to spend time between sets.

Rockstar Energy stayed busy throughout all three days, handing out full-sized energy drinks to festivalgoers. Sun Bum proved equally popular, offering sunscreen samples and application stations that were especially welcome during the hotter parts of the weekend. High West provided a place to relax under umbrellas while enjoying a drink, while Tequila Mi Campo drew people in with complimentary bandanas, coloring stations, and a more interactive setup than the typical branded booth.

Several sponsors leaned into giveaways. Kodiak handed out samples of pancakes, overnight oats, and granola bars throughout the festival, while Goodwipes attracted a steady stream of visitors with its “Golden Throne” restroom experience, product samples, tote bags, and full-sized packages of wipes.

Some of the most popular activations revolved around creating keepsakes. Tito’s and Sun Bum both offered photo booth experiences, with Sun Bum’s film-strip prints becoming a popular souvenir. Craft stations where attendees could make friendship bracelets remained busy throughout the weekend, as did the hand-drawn photo booth and tooth gem station, both of which consistently drew long lines.

Not everything was tied to a sponsor. Ping pong tables and cornhole boards scattered throughout the grounds gave people something to do between sets, and it was common to see games happening while enjoying music being played nearby. The festival also featured numerous photo opportunities and art installations that encouraged attendees to document the weekend beyond the performances themselves.

The 3hive Record Bus was another constant draw, though it wasn’t an activation at all. Functioning as a mobile record store, it gave attendees a place to browse vinyl and CDs between sets and remained busy throughout the weekend.

Taken together, these spaces helped fill the gaps between performances. Instead of simply waiting for the next artist, attendees had plenty of opportunities to explore, create, shop, play, or just take a break before heading back toward a stage.

The Crusher Cup Skate Competition

One of the most unexpectedly central parts of Saturday was the Crusher Cup skateboarding competition, which drew one of the largest non-musical crowds of the weekend. People didn’t just stop by between sets, but stayed to watch the level of talent on display. Every successful run got a loud reaction from the crowd, and the harder falls made me physically wince more than once. What really got me was how quickly the skaters got back up and kept going, often landing difficult tricks with ease right after a wipeout. If you’re at Kilby, definitely don’t skip it!

Music and Daily Highlights

With everything else the festival had to offer covered, the focus naturally shifts to the music itself and how each day unfolded.

The schedule was set up in a way that made it easy to actually move between sets without constantly having to make impossible choices. While there were four stages across the grounds, only two artists played against each other at any given time. Instead of forcing attendees to choose between multiple overlapping sets, the scheduling kept conflicts minimal, which made it possible to see a much wider range of artists over the course of the weekend.

There was also enough time built in between sets to move from stage to stage without rushing, which meant you could realistically catch back-to-back performances without missing large portions of either. It made the whole weekend feel more navigable and less fragmented than many multi-stage festivals of this size.

Day One Highlights

Day One was hot. By early afternoon, it became clear that a lot of people had underestimated just how intense the sun would be. You could feel it building through the afternoon. By the time Beach Bunny was playing, it was clear people were struggling with the heat, and medical staff were moving constantly through the crowd. A few sets had to pause when fans needed help, and what stood out was how quickly security, medical teams, and even the artists themselves responded. Nothing felt ignored or brushed off, which honestly mattered more than anything else that day.

Gelli Haha kicked things off on the Kilby Stage and it was immediately clear the tone for the day was going to be… strange in the best way. Fresh off the release of her debut album Switcheroo, she brought one of the quirkiest and most entertaining sets of the festival. Dancers, musicians, and Gelli herself were all decked out in red, right down to her red contact lenses. Gelli filled the stage with quirky choreography, props, and plenty of personality. At one point, there was even a giant colorful parachute that looked like it had been borrowed from an elementary school PE class.It was weird, whimsical, and impossible not to enjoy.

Die Spitz was the first time the crowd really went off. I don’t even think they gave people time to adjust before it turned into chaos. The Austin punk band wasted no time making an impression, with the bassist entering the stage walking on her hands, and from there it just never slowed down. The pit was constantly moving, crowd surfers continuously poured over the barricade, and it somehow felt fun instead of overwhelming. I didn’t know them before this weekend, but I definitely do now.

Pattie Gonia pulled one of the biggest crowds at Mountain Stage. Way bigger than expected, even by her own admission — she thought maybe a few hundred people would show up, and instead the whole arena was packed. Local queen Sequoia joined her onstage, and at some point there were just bills flying everywhere while everyone danced. She spoke about climate activism in a way that didn’t feel heavy, just direct, and of fighting for LGBTQIA+ rights. “People before us didn’t give up to get us where we are and we can’t either.” That line felt especially meaningful given the current state of the world.

Turnstile closed the night and turned Kilby Block Party into a state of controlled chaos the second they started. From the first note, the barricade thrusted forward, and a massive moshpit erupted. Crowd surfers were everywhere, with security visibly working overtime. They pulled mostly from their most recent album, NEVER ENOUGH, but it didn’t really matter what song it was, the reaction stayed the same. Frontman Brendan Yates matched the energy coming from the audience, at one point launching his microphone stand impressively high into the air while never missing a beat. I hadn’t seen them before this and I get it now. I fully get it.

Day One gallery featuring Wombo, Provoker, Ritt Momney, Snail Mail, Beach Bunny, Chanel Beads, Modest Mouse

Day Two Highlights

After the heat of Day One, Day Two delivered nearly perfect festival weather. Blue skies stretched overhead while the snow-capped Wasatch Mountains provided a stunning backdrop behind the stages. You’d look up between sets and just… pause for a second. The beauty was just impossible to ignore.

FIGHTMASTER was one of the artists I was most curious to see. Having enjoyed their work on “Grey’s Anatomy,” I wasn’t sure what to expect from a live set. The answer turned out to be a confident and engaging performance built around songs from their forthcoming debut album, Tolerance. The material translated well to the stage, and by the time the set wrapped up, I found myself looking forward to hearing the rest of the record.

One of my personal highlights of the weekend came from Briston Maroney. I’ve been a fan of his music for years but had somehow never managed to catch him live. That finally changed at Kilby. Maroney worked through favorites from across his catalog, and hearing “Body” live was a particularly meaningful moment for me. He also treated the crowd to a cover of Oasis’ “Champagne Supernova,” which fit seamlessly into the set.

The Last Dinner Party brought a completely different energy to the afternoon. Their performance felt theatrical in the best way. The band’s unique aesthetic translated beautifully to the festival stage, and fans were treated to material from From The Pyre, including the first live performance of “Big Dog” since its official release earlier in the month.

Saturday night belonged to The xx. The performance marked one of the band’s first appearances together in eight years, and the excitement around the set was impossible to miss. From the opening moments, the bass was so deep I could feel it in my chest. The band’s minimalist approach gave every song room to breathe, while the lighting design elevated the entire experience. I’d waited a long time to see The xx live, and they exceeded every expectation I had built up in my head. It was easily one of the best sets of the weekend.

Day Two gallery featuring The Kilans, Automatic, Clap Your Hands Say Yeah, Ben Kweller, Lucy Dacus, Alex G

Day Three Highlights

By the time Day Three arrived, Mother Nature seemed determined to throw one final challenge at the festival. While Day One was hot and sunny, Day Three was frigid and rainy. Wind and rain moved through the grounds throughout the afternoon and evening, forcing adjustments and sending attendees searching for shelter between sets. However, rather than diminishing the experience, the weather ultimately became part of the day’s magic.

Folk Bitch Trio was one of those accidental discoveries. I didn’t even mean to stay. I had planned to explore parts of the festival grounds that I had not had a chance to see throughout the weekend. I just stopped for a minute, and then didn’t leave. Their harmonies immediately grabbed my attention and kept me rooted in place. By the end of the performance, I was already adding their music to my growing list of post-festival discoveries.

By the time Magdalena Bay took the stage, it was pouring rain. Despite the weather, they delivered one of the most visually striking performances of the weekend. The duo worked through much of Imaginal Disk while weaving in fan favorites from across their catalog. Elaborate costume changes, ethereal styling, and immersive visuals transformed the stage into something otherworldly. Just before she took the stage, the rain returned and refused to let up, but a little rain didn’t slow Lorde down. If anything, it elevated the performance. Dancing to songs like “Green Light” and “Ribs” in the pouring rain felt genuinely magical, one of those rare moments where every other thought disappears and you can truly just lose yourself in the music. Lorde moved effortlessly across the stage, at one point even running barefoot at full speed on a treadmill while somehow maintaining flawless vocals. Her set featured favorites from across her career and served as the perfect ending to an unforgettable weekend. Fans throughout the audience could be spotted wearing frontwoman Mica Tenenbaum’s signature blue face paint, while the rain somehow made the entire performance feel even more surreal.

One of the most anticipated performances of the weekend came from Hayley Williams. Because much of her recent touring has taken place in intimate venues that sold out almost instantly, this set offered many fans their first opportunity to experience songs from Ego Death at a Bachelorette Party live. The set marked Williams’ first festival appearance as a solo artist, which felt especially meaningful to her. Her vocals were flawless throughout the set, and the crowd responded by singing every word back at her. She closed out her set with “Parachute,” which surprisingly did not feature a special guest as it has with most of her solo shows on this tour. The performance created an especially cathartic moment as the crowd collectively screamed the lyrics at the top of their lungs.

And then came Lorde. Just before she took the stage, the rain returned and refused to let up, but a little rain didn’t slow Lorde down. If anything, it elevated the performance. Dancing to songs like “Green Light” and “Ribs” in the pouring rain felt genuinely magical, one of those rare moments where every other thought disappears and you can truly just lose yourself in the music. Lorde moved effortlessly across the stage, at one point even running barefoot at full speed on a treadmill while somehow maintaining flawless vocals. Her set featured favorites from across her career and served as the perfect ending to an unforgettable weekend.

Day Three gallery featuring Smerz, TOPS, Melody’s Echo Chamber, Freak Slug, flipturn, Blood Orange

Closing Thoughts

What stood out across all three days was not just the size of the crowd or the strength of the lineup, but the diversity of the people in attendance. Kilby Block Party felt like a place where individuality was not only accepted but expected. People seemed comfortable being exactly who they were, and that created a sense of safety and belonging that could be felt throughout the festival grounds.

That sense of inclusivity wasn’t limited to the audience. It was also reflected on the stages throughout the weekend.

Despite ongoing calls for greater diversity and gender equity in festival lineups, many festivals still skew predominantly male. Kilby Block Party felt like a notable exception. I’m not sure I’ve ever attended a festival with such a diverse lineup. Every headliner this year included at least one female-presenting artist in a central role, and across the full weekend it was actually more common to encounter female-led acts or acts with both men and women than all-male bands.

That difference shaped the entire weekend. Representation wasn’t something that felt highlighted for praise or attention. It was simply woven into the fabric of the festival. The diversity onstage felt normal, and that normalcy contributed to the welcoming atmosphere that defined the event.

This was my first time attending Kilby Block Party, and I didn’t really know what to expect going in. Before the weekend was even over, I was already making plans for next year. There’s a lot I could point to, from the lineup to the layout to the sense of belonging, but what stayed with me most was how comfortable it felt to spend three days there. Out of everything I have covered in the last year, this ended up being my favorite festival experience, and I hope it won’t be my last.