There are a few things I learned very quickly during my first trip to Georgia: Atlanta is beautiful, Piedmont Park is enormous, and “Hotlanta” is not an exaggeration. The 2026 edition of Shaky Knees Music Festival brought three days of rock, indie, hardcore, hip-hop, punk, and everything in between to Piedmont Park from September 18–20. Four stages — Peachtree, Piedmont, Ponce de Leon, and Criminal Records — were scattered throughout the park, giving attendees plenty of ground to cover and, more importantly, plenty of opportunities to stumble onto something unexpected.
The lineup was stacked from top to bottom, with The Strokes, twenty øne piløts, Gorillaz, Turnstile, Wu-Tang Clan, Knocked Loose, Taking Back Sunday, Geese, Cartel, and countless others filling the weekend. There was also plenty happening away from the stages, from food and beverage activations to festival sustainability efforts and accessibility accommodations.
For all the preparation that goes into a festival, though, there is one thing nobody can control: Atlanta weather. The heat was relentless, and Saturday’s storm eventually brought the festival to a temporary halt, but through the sweat, mud, rain, and schedule changes, Shaky Knees still managed to deliver three memorable days of live music and fun.
Day One
Friday didn’t get underway until 4 p.m., giving me plenty of time to arrive, get my bearings, and figure out the lay of the land. This was my first time in Georgia, and even coming from the desert, I wasn’t prepared for the combination of Atlanta heat and humidity. I thrive in warm weather, but humidity, apparently, is where I draw the line. By the end of each night, my clothes were soaked through, and staying hydrated quickly became less of a suggestion and more of a requirement. I saw multiple instances of people needing medical attention because of the heat, although I was impressed by how quickly and attentively security and medical personnel responded whenever someone needed help.
My first decision of the weekend was a difficult one: Ben Howard or Cartel. Ben Howard’s music is absolutely my kind of thing, and I would have loved to catch “Only Love” live. But Cartel is one of my favorite bands, they’re from Atlanta, and this was an especially significant day for them. Their first new record in 13 years, Learning How to Cope, had just been released, and they were celebrating with a hometown performance before their Shaky Knees late-night show that evening, so Cartel won. It was the right decision for me.
The band opened with “Give or Take,” a track from the new record, before moving into “Faster Ride” and “The Fortunate.” The set balanced longtime favorites with songs from Learning How to Cope, and fans were already singing along to the new material. “Luckie St.” was dedicated to the longtime fans, and judging by the response, there were plenty of them in attendance. Cartel brought exactly the kind of energy I wanted to start the weekend with. They sounded great, looked like they were having a blast and reminded me why they’ve remained one of my favorite bands for so long. I would later catch their late-night performance as well, which doubled as an album-release celebration. Check out that review here.
As I headed toward Peachtree for Hot Mulligan, I caught the final moments of Ben Howard’s set from a distance. He sounded fantastic, making the decision between those two sets even more difficult in hindsight. What I caught from across the grounds sounded fantastic, though, and hearing those final songs as I made my way toward the next stage was a pretty good consolation for having missed most of his set.
Hot Mulligan was another personal favorite on my Friday schedule, and the band wasted no time embracing the chaos. They opened with “How Do You Know It’s Not Armadillo Shells?” before jumping into “Drink Milk and Run,” encouraging the crowd to get the circle pits going. They hardly needed the encouragement, though, as pits were already opening up around the field from the moment the band took the stage. Frontman Nathan “Tades” Sanville kept things going between songs with the kind of banter that has become part of the Hot Mulligan experience, including the band’s long-running bit about booing the VIP section. Tades joked about the perceived class divide between general admission and VIP and encouraged the crowd to let the VIPs hear it. While the joke has been part of their shows for years, it clearly caught some people off guard, with at least one VIP attendee reportedly reaching out to the band afterward with an email demanding an apology. Tades, naturally, turned that into another joke during the band’s late-night performance the following evening.
The heat was impossible to ignore, but Tades seemed determined not to let it slow him down. He was completely drenched in sweat, his long hair soaked through, as he threw himself into the performance. At one point, he looked out at the crowd and joked that anyone denying global warming was an idiot because of how brutally hot it was. Looking around at a field full of equally sweaty fans, it was hard to argue with him. Despite that heat, the audience matched the band’s energy from beginning to end, with mosh pits opening across the crowd, crowdsurfers making their way toward the barricade, and thousands of people screaming along to every word. The band also joked about their reputation for ridiculous song titles, introducing “Featuring Mark Hoppus” in a way that had plenty of people looking around for Blink-182’s bassist before realizing what was happening. It was a 10/10 performance and exactly the kind of chaotic fun I was hoping for.
Geese was next on my list, marking my second time seeing the Brooklyn band live, and once again, the crowd was just as fascinating as the band. There were people holding signs, fans dressed as geese, plush geese being waved around, and an audience that seemed ready to completely lose it from the second the band walked onstage. They opened with “Husbands” before moving into “Getting Killed,” and things never really let up from there. There is something wonderfully unpredictable about watching this band live, and the audience seemed perfectly prepared for whatever they decided to throw at them.
Turnstile brought the largest crowd I had encountered yet to Peachtree, and it became immediately obvious that the field was about to turn into complete chaos. Daniel Fang, the band’s drummer, came out first for a drum solo before Brendan Yates launched himself from the drum riser, and from that point forward, the performance barely let up. “BIRDS” kicked things off and instantly ignited the crowd. Circle pits opened. Crowdsurfers began flying overhead. Fists went into the air. Walls of death formed. Drones hovered above the crowd, sending live footage to the massive screens so even people farther back could see the mayhem unfolding.
Between songs, clips of interviews with fans from around the festival grounds played on the screens, with people talking about what Turnstile and their music meant to them. It was a nice reminder that underneath all the chaos, there was a genuine connection between the band and the people standing in front of them. Then came “BLACKOUT.” The lights dropped as Yates screamed “Blackout in the middle of the light!,” and the entire field seemed to erupt again. Turnstile didn’t let up for the entire set, delivering exactly the kind of performance they’ve come to be known for and one that fans will not soon forget. Even if the genre isn’t for you, the performance and crowd experience is something that anyone can appreciate.
The Strokes closed out the first night, and judging by the reactions I heard throughout the crowd, they exceeded expectations. Julian Casablancas sounded great as the band moved through a set that leaned heavily into favorites from their catalog while also incorporating newer material from Reality Awaits, which was released earlier this summer.
The crowd stretched across the Peachtree field, with fans of all ages singing and dancing along. Albert Hammond Jr. took over the microphone for “Take It or Leave It,” adding another memorable moment to the set, and longtime Shaky Knees attendees told me the performance felt like a redemption after a less-than-stellar appearance several years ago. A technical issue led to the set ending a bit early, but there are certainly worse ways to close out a set than with “Last Nite” and “Reptilia.” Ending with the two tracks wrapped up the evening on a high note, with fans ready for two more fun, music-filled days ahead.
Day Two
Saturday began later for me than originally intended. I’m going to be honest: after Cartel’s late-night show, I am no longer young enough to pretend I can stay up until 4 a.m. and expect to be up and moving before noon. I didn’t make it back onto the Shaky Knees grounds until around 2:45 p.m., starting my second day with Sir Chloe. The band brought an all-female lineup to the stage, and we love to see it. There was great chemistry between the members, and frontwoman Dana Foote commanded the stage while dragging her microphone stand around and moving through songs like “July,” “Kiss” and “Sedona,” introducing “Kiss” by asking the audience, “Who likes to kiss?,” which got exactly the reaction you would expect. It was a genuinely fun set and a great way to ease into the second day.
The Rapture were another act I was especially excited to catch, having discovered the band after hearing “How Deep Is Your Love?” on a tour’s pre-show setlist every night. Unfortunately, that song didn’t make the Shaky Knees setlist, but the band otherwise did not disappoint as they moved through songs like “Echoes,” “Whoo! Alright – Yeah… Uh Huh.” and “House of Jealous Lovers,” bringing great energy and even better vibes to the stage.
Psychadelic Porn Crumpets were probably my biggest discovery of the entire festival. I had heard the name before but had never actually listened to the band, so I had no idea what I was walking into. They opened with “Salsa Verde,” and within minutes I understood why people were so excited to see them. The band was having an absolute blast onstage, the crowd matched that energy, and the whole set felt like one giant party. There were even signs in the crowd declaring “I Love Porn,” which was ridiculous and somehow perfectly suited to the moment.
Congress the Band was another band I was excited to catch after discovering them at Innings Festival earlier this year. The South Carolina indie rockers released their debut album, Wasted While I’m Young, in July, and their Shaky Knees set showed exactly why they are a band I’m interested in following. They were tight, energetic, and clearly having fun onstage, moving through songs from the album before breaking into a cover of “Valerie” that had the entire crowd singing along. They’re still early in their story, but I’m excited to see where they go from here.
Taking Back Sunday was one of the sets I had been looking forward to most. The band opened on the Ponce de Leon Stage with “What’s It Feel Like to Be a Ghost?” before moving into “Liar (It Takes One to Know One).” Adam Lazzara took a moment to talk about the band’s history in the region and how, when they were starting out, big festivals like Shaky Knees weren’t around for them to play. He talked about wanting to play the festival since it began 13 years ago and how excited they were to finally be there. They moved into “Set Phasers to Stun,” and that was where the set ended for me. As we were leaving the photo pit after the first three songs, an announcement came over the speakers that the festival was pausing because of incoming severe weather. The crowd was instructed to seek shelter, and the timing could not have been worse. Those three songs sounded fantastic, particularly Adam’s vocals, and longtime TBS fans know there have been some ups and downs over the years. With Fred Mascherino back in the band, though, they sounded better than I’ve heard them in years. It was a huge disappointment to have the set cut short just as it was getting started.
The evacuation that followed was surreal. I headed toward the North Entrance as the rain started coming down, and it quickly went from calm skies to a torrential downpour. Lightning began striking nearby, and finding shelter became the immediate priority. I eventually ended up beneath a bridge with several hundred other festivalgoers, everyone packed together trying to stay dry and safe from the lightning while waiting for more information.
There was plenty of frustration, especially for fans who had come specifically for Taking Back Sunday, Blood Orange, Pierce the Veil, The Prodigy, or Pavement. The remaining performances for those acts were ultimately canceled, as was Psychedelic Porn Crumpets‘ second set. But there were also moments of people making the best of a terrible situation. Festivalgoers slid through the mud like it was an enormous Slip ‘N Slide, danced through puddles, and generally found ways to have fun while waiting out the storm.
Eventually, the weather cleared enough for the festival to prepare the grounds and reopen for twenty one pilots to play a mildly shortened set. I desperately wanted to see them. I’d caught the band earlier in the year at Innings Festival and went into that performance as more of a casual listener. I left completely blown away by their production and live show. I was unfortunately one of the people who didn’t make it back. By the time I finally made it back to my hotel after the evacuation, I had just enough time to dry myself off and attempt to rescue my shoes with a hotel hair dryer before heading back out for Hot Mulligan’s late-night show.
twenty øne piløts fans had taken over the festival grounds that day, some already camped out in line when fans were leaving on Friday. Everywhere you looked, there were fans donning their best Breach-, Trench-, and Clancy-inspired outfits. They have a particularly loyal fanbase, and those who came to see twenty øne piløts stuck it out to the end in hopes they’d get to see the duo live. Seeing the photos and hearing about the crowd that returned made it clear how much the night meant to those who did make it back. Shout out to the kid I met while taking shelter inside a Dunkin’ Donuts who was convinced the weather would clear because he needed to see his favorite band. I’m genuinely happy he got his wish.
The festival’s response to the weather was one of the things I appreciated most about Saturday. The evacuation happened quickly once the lightning became a serious threat, and while the cancellations were disappointing, the priority was clearly getting everyone out of the park safely. Staff and security worked through an incredibly difficult situation, and the grounds were able to reopen once conditions improved enough to do so.
Day Three
By Sunday, the festival grounds told the story of Saturday night. The crew had clearly been working hard. Machinery was being used to clear mud from the grounds, and the smaller stages were surprisingly well preserved considering what the park had endured. The main Peachtree area was another story. With thousands of twenty øne piløts fans returning Saturday night while the grounds were wet, the area had taken a beating. Mud remained in plenty of places, but given the circumstances, the grounds were in remarkably good shape.
My original plan was to arrive right when the gates opened. My body had other plans. I’m no longer a spring chicken, apparently. I managed to catch the tail end of Showing Teeth, and Addison’s performance immediately grabbed my attention. Her guttural screams could be heard across the festival grounds, and the amount of energy she brought to the stage was impressive. It was only a portion of the set, but it was enough to make me want to hear more.
Porch Light was another set I was especially glad to catch after missing them at Minnesota Yacht Club. The entire band brought great energy, and their music was an easy highlight for me. Their debut album, Hush, had just been released Friday, so the set was also a celebration of the new record, including songs like “Paranoia.” They were one of those discoveries that immediately went onto my list of bands to keep watching, and I’ll definitely be following along as they continue to grow.
Violet Grohl’s debut album, Be Sweet To Me, came out in May, and her Shaky Knees set featured the album in full alongside a few other songs, including a cover of Squirrel Bait’s “Sun God.” Backed by a full band, Grohl’s vocals sounded strong throughout the set. It was interesting to see her beginning to establish her own sound and identity, and I’m curious to see how her career continues to develop.
I had already seen Peach Pit live and knew they were great, so I decided to use that time to check out Big Special instead. The UK duo was one of the biggest surprises of the weekend for me. Joe Hicklin and Callum Moloney brought an incredible amount of energy to the small Criminal Records Stage, and it didn’t take long to understand why they have built such a dedicated following. Hicklin worked his way into the crowd at one point, bringing a cymbal and stand with him and allowing fans to take turns smashing it. There was something wonderfully chaotic about watching a band throw that much energy into one of the festival’s smallest spaces. There a sense of humor and playfulness to their set that made it incredibly fun to watch.
Jet was next, and this was my first time seeing them live, so I was excited to finally check them off the list. They opened with “Last Chance” before moving through favorites including “Are You Gonna Be My Girl” and “Cold Hard Bitch.” The band also broke out an AC/DC cover of “It’s a Long Way to the Top,” which was a fun surprise before they eventually closed with “Rip It Up.” There was a lot of energy onstage throughout the set, and the crowd responded accordingly. “Are You Gonna Be My Girl” naturally had everyone singing along, but the entire performance felt like a band having a genuinely good time playing these songs together. It was exactly what I hoped a Jet set would be.
I also caught American Hi-Fi at the Criminal Records Stage after seeing them at Warped Tour earlier this summer. They opened with “Surround,” sounding just as good as ever, and drew a surprisingly large crowd for the smaller stage. “Flavor of the Weak” rounded out the set, giving everyone exactly the nostalgic singalong they were hoping for.
Bone Thugs-N-Harmony was a completely different kind of nostalgia for me. Their music takes me straight back to childhood, so getting to hear “Tha Crossroads” live was a pretty special moment. The group took time to talk about having been together for roughly three decades, and hearing that history while watching them perform made the set feel like a genuine throwback. They sounded fantastic, and the crowd clearly appreciated the trip down memory lane.
Wu-Tang Clan followed, and the crowd was already throwing up the W before the group even took the stage. One member appeared, then another, then another, gradually building the anticipation until Young Dirty Bastard exploded onto the stage and sent the crowd into another level of excitement. They opened with “Bring Da Ruckus” and lived up to the title, moving through a 16-song set that pulled from across the group’s history as well as individual members’ catalogs. Method Man’s “I’ll Be There for You/You’re All I Need to Get By,” Raekwon’s “Ice Cream” and the late Ol’ Dirty Bastard’s “Shimmy Shimmy Ya” were among the highlights. They eventually closed with “Triumph,” sending one of the biggest crowds of the weekend into the final stretch of the festival.
Knocked Loose brought something completely unholy to Ponce de Leon. The illuminated cross behind the stage was fitting for what was about to happen, because for the people packed into that field, this was practically a religious experience. The circle pit was already moving before the band even came out, and once they opened with “Blinding Faith,” there was no question that things were about to get completely out of hand. Fire, crowd surfers, circle pits, walls of death and guttural screams filled the field as Bryan Garris and the rest of the band tore through the set. At one point, there were pits opening in what seemed like nearly every section of the lawn. People were barking, security was working overtime, and the flames coming off the stage made the entire thing feel even more insane.
“Counting Worms,” “Hive Mind” and “Suffocate” were among the songs that kept the crowd moving, but the band’s request was simple: they wanted chaos. The crowd delivered. “Everything Is Quiet Now” closed the set and brought the Ponce de Leon Stage’s weekend to an absolutely wild conclusion.
Gorillaz closed the festival, and describing their performance as a concert almost feels inadequate. There was something genuinely immersive about the combination of Damon Albarn, the live band, the massive visuals, and the animated Gorillaz characters projected across the screens. Someone near me described “Kids With Guns” as life-changing, and honestly, I understood exactly what they meant.
The guest appearances added another layer to an already massive production. Kara Jackson joined for “Orange County,” 6LACK appeared for “The Pink Phantom,” DRAM came out for “Andromeda,” and EarthGang joined for “Opium.” Bootie Brown appeared for “Stylo” and “Dirty Harry,” and Del the Funky Homosapien came out for “Clint Eastwood,” closing the festival with one of the most recognizable Gorillaz songs in the catalog.
The combination of the visuals, the live performances and the parade of special guests made Gorillaz feel like something completely different from everything else that had happened throughout the weekend. After three days of heat, mud, storms, pits, crowdsurfers, and more music than I could possibly fit into one weekend, it was an incredible way to close things out.
Beyond the Music
One of the things I enjoyed most about Shaky Knees was how much there was to explore outside of the stages. Piedmont Park is a beautiful setting for a festival, with huge trees, green grass, and plenty of places where people could throw down a blanket and relax while still listening to the music. Those shady spots were extremely popular throughout the weekend, though I do wish the festival had provided more dedicated shade and cooling areas. They had cooling fans scattered around the grounds, but given the Atlanta heat and humidity, more would have been welcome.
The Rock & Recycle program was another thing I noticed making a real difference. Festivalgoers could collect cans and exchange them for special festival merchandise, which encouraged people to actually pick up the inevitable waste that comes with an event this size. The grounds stayed relatively pleasant considering how many people were walking through the park all weekend, and the program was a nice incentive to keep it that way.
There was plenty of food to choose from, which made deciding what to eat each night surprisingly difficult. I had some excellent beef bulgogi, and Goodness Gracious Great Balls of Love was a particularly fun discovery, serving ice cream inside a Rice Krispie treat. I had never seen that before and it was delicious. Mac N Me was high on my list to try, but my plans to grab it Saturday night disappeared along with the rest of the schedule when the storm rolled through. I heard nothing but good things, though, and the food looked incredible every time I walked past.
The brand activations added another layer to the festival experience. Cabot Creamery was probably my favorite stop, offering pimento grilled cheese samples throughout the weekend as well as wrapped Gouda squares and other giveaways. The sandwiches were genuinely good and became an easy place to stop between sets.
Señorita THC Margaritas had a fun setup with samples, a photo opportunity and a hat press where attendees could customize hats with patches during happy hour. Tito’s had a claw machine packed with swag, a photo booth, and airbrush tattoos, while Electrolit was especially popular given the heat. Festivalgoers could grab samples of the drink and cool off with a photo inside their ball pit.
The Hazy Little Hideaway had an elevated viewing platform along with a friendship bracelet station and several photo opportunities. Josh Cellars had more photo ops and swag, while Tombstone was giving out pizza samples and had a truck where attendees could write what they would want on their tombstone before taking a photo with the Grim Reaper. Yerba Madre had a fun jungle-inspired setup with samples and giveaways.
Accessibility was also incorporated into the festival, including dedicated seating areas and ASL interpreters for some of the larger performances. It was encouraging to see those accommodations included as part of the overall festival experience.
I also want to highlight Songs for Kids, an organization I was genuinely excited to see included on the lineup. I was disappointed that I didn’t make it out early enough to catch their performances, because their work is particularly meaningful to me. I work with children with disabilities, so the organization’s focus on using music to support kids and create inclusive experiences is something that hits close to home for me. I love that Shaky Knees gave them a platform and that a portion of the festival proceeds went toward supporting their work.
Final Thoughts
Shaky Knees was an overall wonderful experience, even if Atlanta’s weather tried its hardest to make things difficult. The lineup had something for just about everyone, and I appreciated the way the festival could put a band like Wu-Tang Clan next to Knocked Loose, Gorillaz, The Strokes, Cartel, Geese, and so many different styles without the weekend ever feeling completely disjointed.
If I had one major request for future Shaky Knees lineups, it would be to see more women represented. There were several female-fronted and female-led acts on the bill this year, but a number of them were scheduled against each other, which made it difficult to see as many as I would have liked. I’d love to see more women added to the lineup in future years and, ideally, more opportunities to catch those acts without having to choose between them.
The heat was another challenge. I cannot stress enough how important it is to come prepared for Atlanta in September. Hydrate constantly, bring enough sunscreen, and take advantage of every bit of shade you can find. I saw more than one heat-related incident that required medical attention, although I want to give a lot of credit to the festival’s security and medical teams. They were attentive, responsive, and quick to get people help when they needed it. I would still love to see the festival add more shade structures and cooling fans throughout the grounds. There were some available, but given how intense the heat and humidity were, more would have made a noticeable difference.
Despite the weather, the heat, and the occasional scheduling heartbreak, I had an incredible weekend. I discovered new bands, saw some longtime favorites, caught performances I’ll be talking about for a while, and got to experience my first Shaky Knees in a park that made for a beautiful festival setting. The weather certainly kept things interesting, but the music, the crowd, and the atmosphere made it worth every sweaty shirt and mud-covered shoe. 10/10, would absolutely do it again, and I hope to see you all out there next year.
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