A Curious and Captivating Mix: Hinterland Music Festival Expands to Four Days of Eclectic Sounds
The math looked odd on paper. A festival with global girl group sensation KATSEYE, art-pop deity Lorde, indie folk-rockers Mumford & Sons, and R&B chanteuse Kali Uchis as its headliners sounds like the result of a particularly ambitious Spotify algorithm. But over four days on the newly expanded festival grounds in Saint Charles, Iowa, Hinterland proved that its eclectic booking is not a bug, but a feature for the ever-growing midwestern music festival.
Now in its 11th year, the festival expanded from three days to four, adding a Thursday for the first time. The gamble paid off, as fans from across the country flocked to the rolling hills of central Iowa, about 30 minutes south of Des Moines. With a single main stage set at the bottom of a wide spanning hill and the intimate Campfire Stage running late into the night, the “no conflicts” scheduling continued to be one of Hinterland’s greatest assets, allowing fans to stake out their spots and soak in every note without the stress of running between stages.
This year’s expansion came with serious infrastructure upgrades that showed in the details. The grounds grew by 130 acres to nearly 400 total, anchored by a new permanent outdoor stage spanning 8,000 square feet and rising 65 feet above the Iowa prairie. Attendees could wander more than 3.5 miles of hiking trails past art installations and two covered bridges, or pose for photos in a vibrant sunflower field. A new four-hole disc golf course joined returning favorites like the White Claw Hammock Hangout, daily yoga and sound bath sessions, and the expanded MiniLand family area. With 36 food vendors, including 11 Iowa-based businesses, the culinary options matched the musical diversity.
Day 1: A New Era Begins with KATSEYE
The festival’s first ever Thursday was a vibrant, forward-looking start. KATSEYE, the global girl group formed through the HYBE and Geffen Records talent competition reality show Dream Academy, proved they’re more than just a product of a modernized Motown artist training method, but an actual powerhouse worthy of the hype. The crowd, a sea of young fans armed with lightsticks and matching outfits, surged forward the moment the group appeared. Their synchronized choreography on “PINKY UP” and “Animal” met with screams that nearly drowned out the music, while the extended dance breaks of “Gabriella” and “GNARLY” had even the most stoic security guards tapping their feet and nodding along to the music. Unfortunately, the group was down a member–Sophia Laforteza, the group’s leader–was not in attendance due to an unforeseen illness. Nevertheless, the girls certainly pulled through with a memorable performance.
Earlier in the day, Ashnikko drew early birds who had staked out spots at the barricade, enduring the fickle Iowa summer wind and rain with the dedication of true believers. Her high energy, genre bending set was a chaotic explosion of bass heavy beats and provocative lyrics as fans screamed along to hits like “Wet Like” and “Itty Bitty.” beabadoobee offered a contrasting dreamy, indie-pop sound that soothed the crowd. Her soft vocals and melodic guitar work a perfect antidote to the afternoon drizzle. Most exciting for her fans was the opportunity to finally hear in a live setting tracks from her upcoming album like “Switchblade.” A little treat for those seeing her later this year for her upcoming tour.
Day 2: Lorde’s Commanding Return and an Indie-Pop Tribute
Lorde headlined the second night with a performance that was both understated and immense. Opening with the brooding “Hammer” and a shortened “Royals,” her set was a showcase in controlled energy, drawing heavily from her Solar Power and Melodrama eras. She moved through the setlist with a new, meditative confidence, delivering “Broken Glass,” “Buzzcut Season,” and “Perfect Places” with a maturity that silenced the crowd in reverence. The night peaked with a powerful run through “Supercut,” “The Louvre,” and the emotional weight of “Liability,” leaving longtime fans tearful. What was truly bone chilling was her ending the performance with the iconic “Ribs” in the pouring rain no less. The fans were completely unfazed; jumping and screaming along with her as she moved to a second platform to be closer to the audience.
Earlier, MUNA delivered one of the day’s most euphoric sets. Their queer pop anthems like “Dancing On The Wall,” “I Know A Place” and “Silk Chiffon” drew a massive, joyous singalong, with the crowd dancing in the grass, arms aloft. For many who had never seen them live, MUNA became the set of the weekend, converting first timers and casual listeners into devoted fans. Snow Strippers brought their signature blend of icy electro-pop and underground club energy to the main stage as the sun began to dip, their pulsing beats and distorted vocals creating a hypnotic atmosphere that had the crowd swaying in unison. Tracks like “Under Your Spell” landed with a thudding physicality that you could feel in your chest, and the duo’s detached, almost alien stage presence only deepened the intrigue.
Paris Paloma, performing earlier in the afternoon, offered something entirely different. Her folk-tinged pop and haunting vocals on “The Fruits” and the surprise appearance of Sofia Isella for “Labour” drew a large crowd for a mid-day slot, and by the time she reached the soaring chorus of “Yeti,” the hillside was dotted with fans singing every word back at her, many wiping away tears. Her between-song banter about finding strength in vulnerability resonated deeply in the open Iowa air, and it was clear that a significant portion of the audience had come specifically for her.
Day 3: Folk Roots and a Reunion’s Warm Glow
Mumford & Sons headlined a Saturday that felt designed for the festival’s Midwestern setting. They delivered a career spanning set that felt right at home on the prairie, their anthemic, banjo driven folk-rock echoing across the natural bowl. From the urgent “Little Lion Man” to the communal singalong of “I Will Wait,” their performance was a showcase in arena-sized intimacy, reminding everyone why they remain festival royalty.
A strong argument could be made that Jessie Murph stole the show, her blend of country grit and trap-influenced production a highlight. Her powerful vocals on tracks like the emotional “Sobriety” and her honest between-song banter won over the crowd, many of whom had never heard her music before.
The day also featured a sweet, nostalgic trip back to the 2000s indie scene with the reunited The Format, whose set had many a longtime fan holding back tears as they played “The First Single” and “Tie the Rope.” Another millennial favorite, Santigold, brought her singular brand of art-pop, with a high energy, genre-bending set featuring “Disparate Youth” and “L.E.S. Artistes,” proving her influence on the current generation remains deep.
Day 4: Kali Uchis and the Eclectic Finale
Kali Uchis closed out the weekend with a shimmering, sensual performance that was pure class. She moved through her catalog with the ease of a confident star, blending the lush, nostalgic pop of Red Moon in Venus with the harder R&B edges of Orquídeas. The crowd, a mix of die hard fans and curious newcomers, was captivated by her stunning vocal runs on “Moonlight” and “telepatía.” For many who had spent the weekend in the unexpected rain and the usual suspects of heat and dust, her sultry, smooth set was the perfect, soothing conclusion.
The day’s earlier sets were just as engaging. Wet Leg brought their deadpan, witty indie-rock to the stage and had the crowd in fits of joyful confusion. Songs like “Chaise Longue” and “Wet Dream” were delivered with a smirk and sharp, infectious energy, making them an instant hit with first timers who were already pulling out their phones to look up tour dates before the set ended.
Geese delivered a set that felt less like a traditional concert and more like watching a band dissolve and reassemble itself in real time. They opened with the slow groove of “Husbands,” slipping seamlessly into the ferocious “Getting Killed” without a proper break, establishing their signature approach of letting songs bleed into one another. Frontman Cameron Winter strolled the stage with his trademark feigned nonchalance while the band stretched “Islands of Men” and “Half Real” into jam band territory, then peaked with “I See Myself,” reimagined live as something louder and grungier. They closed with “Trinidad,” and a small mosh pit opened near the front, a strange sight at a festival where swaying is the default mode, but it was certainly most welcome.
Young Miko demonstrated the festival’s broad range with a bilingual reggaeton and trap set that drew a massive, energized crowd. She opened with “Wiggy,” her breakthrough hit, and the response was immediate. Thousands of fans, many waving Puerto Rican flags, surged forward and sang along to every word. The transition into “CLASSY101” had the crowd jumping in unison, and when she performed “Riri,” a lovestruck anthem that has become a staple of her live shows, the singalong was so loud it threatened to overpower the PA system. Miko’s stage presence was magnetic. She moved with the effortless confidence of someone who has spent years in the Latin trap scene, and her between song banter, switching seamlessly between Spanish and English, made the set feel deeply personal. For the Iowa crowd, many of whom had never seen a reggaeton artist live, it was a revelation. By the time she closed the set, it was clear that Young Miko had won over an entirely new audience. The roar that greeted her final bow was sustained and genuine, the kind of response that turns a festival slot into a career milestone.
Verdict
Hinterland Music Festival, with its new stage and expanded schedule, solidified its status as one of the Midwest’s most unique festival experiences. The stark variety on the lineup, while a potential turnoff for purists, created an atmosphere of curiosity and discovery. The days were long, the sound was stellar, and the late night Campfire Stage continued to be a festival highlight. In a world of niche events, Hinterland’s greatest strength is its joyful refusal to pick just one lane.
