Famed bandleader, reinvigored band close a memorable first day of 2026 festival
Even on an unsure day, Shaky Knees reliably delivered the goods.
Based on conversations the collective BLANK team had with multiple factions of prospective festivalgoers – whose musical tastes and interests span a wide range of genres – prior to the 2026 edition of Shaky Knees, expectations and excitement levels for the opening day of the Atlanta festival seemed to be as disparate as the artists themselves. Despite the abbreviated schedule (necessitated by the venue’s location within a Midtown school zone) and uncertainty regarding exactly what might be on offer, Friday’s program featured some extraordinary bookings.
Happily, we can report that all the performances we observed on day one at Piedmont Park delivered on their utmost promise.
From undercard acts like Cartel, Hot Mulligan, Snow Strippers and Alice Phoebe Lou to the venerable headliners that graced the main stages, everyone who performed established a baseline standard for the rest of the weekend that will be tough to surpass. Read on for blurbs about our favorite shows that took place on a blistering (weather-wise and in terms of quality) Friday of action. – Matt Rankin
Ben Howard
Good friend of BLANK and trusted arbiter of cool TJ Reynolds has been a proponent of Howard for quite some time now, but to be honest, the British singer-songwriter’s recorded work has never really clicked for me. Still, based on his recommendation, I settled into a shaded spot on the hill overlooking the secondary Piedmont stage for what turned out to be a beefier, more approachable and vastly more psychedelic hour than what I had anticipated.
Far from the plaintive fare I was expecting, the songs presented here were patient yet ebullient in nature. While the expansive tunes were reminiscent of both The War on Drugs and Kurt Vile at times, perhaps the most astute comparison would be to Bon Iver, whose most recent output fully leans into blissed-out yacht rock, a style that was mirrored on this afternoon by the musicianship of Howard and his adept backing band.
The 4:30 start time fell during the most scorching segment of a day in which the temperature climbed into the upper 90s. As a result, there was a pronounced distinction between the mass of humanity contoured precisely to the shadows cast by the copious foliage surrounding the western boundary of the stage and the emptiness of the adjacent sundrenched field. But no amount of unrelenting heat and humidity could dampen the value of the performance. – MR
Geese
This Brooklyn four-piece brought its formidable touring momentum to Shaky Knees on Friday, delivering a day-one performance that further solidified the band’s status as one of contemporary rock’s most vital young forces. Touring in support of 2025 release “Getting Killed,” the group’s early afternoon set at Piedmont offered a masterclass in aggressive, genre-bending execution.
The tone was set before a note was ever played, as the band took the stage to The Alan Parsons Project’s “Sirius” – a statement of intent that also felt like tongue-in-cheek bravado. Geese capitalized on that anticipation instantly, launching into high-velocity renditions of “Husbands” and the title track from “Getting Killed.” The opening numbers transitioned seamlessly into “Crusades,” a highlight from 2023’s acclaimed “3D Country,” showcasing the band’s sharp rhythmic shifts and erratic guitar interplay.
The set’s most memorable moment arrived courtesy of frontman Cameron Winter, who paid homage to the late Atlanta rap icon Rich Homie Quan. Pressing his phone against his guitar pickups, Winter played a snippet of the Rich Gang hit “Lifestyle” through his rig. The resulting feedback-heavy, distorted tribute was both improvised and raw – a clever nod to the host city’s hip-hop heritage embedded within the framework of indie rock.
The Piedmont audience responded in kind, maintaining its energy throughout the set and joining in for a rousing collective chorus during “I See Myself.” Equal parts forceful and inventive, Geese’s performance underscored a compelling truth: Amidst a shifting musical landscape, guitar-driven art rock remains remarkable in the right hands. – John Flannagan
Alice Phoebe Lou
While “vibe” is thrown around liberally in modern music discussions, South African singer-songwriter Lou provided a live-action demonstration of the word during a sublime sunset performance at Criminal Records on Friday evening. Drawing what easily appeared to be the largest crowd the stage has hosted in over a decade of BLANK Shaky Knees coverage, Lou delivered an atmospheric masterclass in indie-folk and dream-pop textures.
Faced with a difficult choice against the high-octane energy of Turnstile on the main stage, festivalgoers who opted for Lou’s set were treated to an enchanting counter-narrative. Leaning heavily on material from her 2025 release “Oblivion,” Lou skillfully transformed the dusty festival field into an intimate, near-communal listening room. Her delicate vocals and lush instrumentals cast a hypnotic spell over the audience for the full hour she was onstage.
The gamble to forego the main-stage dilemma paid rich dividends, culminating in a transcendent closing performance of “Witches” – a standout cut from her 2023 LP “Shelter.” As the final notes drifted across the lawn, any lingering doubts regarding the scheduling conflict vanished, leaving behind one of the most spellbinding sets of the day. – JF
Fontaines D.C.
Starting out with cool confidence, building in intensity as it progressed and concluding with a swagger earned via a consummate performance, this Dublin, Ireland, five-piece epitomized professionalism, virtuosity and grandeur throughout its twilight set on Piedmont. Festival creator Tim Sweetwood has a proud history of capturing electrifying acts from the British Isles; prior years have featured both established and up-and-coming artists like Placebo, Biffy Clyro, Foals, The 1975 and Holly Humberstone.
Fontaines added to that fine tradition with a commanding outing that drew from three of its four studio efforts thus far and previewed a couple of tracks from upcoming release “Dopamine Chamber,” due out in mid-October. The 13-song excursion navigated various tones and textures but remained consistently committed to the band’s moody, brooding aesthetic. Bangers such as “Marianne” (the first time it was played stateside according to our own John Flannagan) and “In the Modern World” duly paved the way for prolonged set closer “Starburster,” which entranced the enraptured crowd as it slinked to a satisfying conclusion. – MR
Danny Elfman
Shaky Knees has become the big one in the South when it comes to rock music.
But that’s not all the festival has to offer in terms of musical genres. Over the years, the festival has borrowed from hip-hop, electronic and Americana on occasion, but never before has an orchestra performed onstage at Shaky Knees.
All that changed Friday night when Danny Elfman brought over 30 people to his sunset show at Ponce De Leon.
You know Elfman’s work even if you don’t think you do. Have you ever seen a Tim Burton project? Elfman composed the music. “Men in Black?” He wrote the music for that, too. “Spiderman?” Yep. “Pee Wee’s Big Adventure?” That, too. And for those who waited for the show’s last few songs, “The Simpsons” theme was the prize. With arms spread wide and a Cheshire Cat grin, he simply crooned the words, “Thaaaaa Siiimpsooooonnnnns,” and smiles raced through the crowd as the playful jingle sent everyone off a little lighter on their feet.
The show absolutely rocked, too. He played the hit scores, select cuts from his original band Oingo Boingo, tracks from 2021 album “Big Mess” and several new tunes from a cryptic new album set to be released soon.
If the orchestra wasn’t enough, his backing band was comprised of Nili Brosh (Dethklok) and Robin Finck (Nine Inch Nails, Guns N’ Roses) on guitar, Josh Freese (Nine Inch Nails, Foo Fighters) on drums and Matt McJunkins (A Perfect Circle, Eagles of Death Metal) on bass.
It was a defining moment for Shaky Knees. When it comes to the North American festival landscape, these are the kinds of acts that have hit only Coachella in the past, and I hope we see more of these rare and interesting gets in the future. This festival is growing, and with all the uncertainty elsewhere in the business, the time feels right. – Rusty Odom
The Strokes
The last headlining set at Shaky Knees, in 2021, by this beloved yet beleaguered band was mired in controversy. Attendees bemoaned the delayed start, the muddled sound, the the commitment of the group and the iffy sobriety of its frontman. While the material ultimately won out, it was difficult to overlook Julian Casablancas frequently forgetting lyrics and seemingly mouthing during the show that the endeavor was no longer enjoyable.
Five years later, however, The Strokes endure, and its members seem to be approaching their craft with renewed vigor. This summer’s “Reality Awaits,” the band’s seventh full-length release, is largely a welcome return to form, but even diehard fans likely would have been shocked by the intent, veracity and nostalgia inherent in Friday’s incendiary display on Peachtree.
In spite of the new record being less than two months old, the 19-song setlist comprised 13 songs culled from the group’s first three albums, including a whopping six from its 2001 debut “Is This It.” For longtime listeners like me, it was nothing short of a glorious trip down memory lane, but even the new material sparkled when interspersed amidst a quarter century of hits.
Tight and focused, the players roared through their allotted hour and a half with the zeal of people with something to prove – even if their longevity would suggest otherwise. And even some brief technical difficulties halfway through couldn’t kill the good vibes; Casablancas simply preened before the massive audience swarming Peachtree until they were sorted, and the band continued to melt faces.
If the preceding selections hadn’t already converted the skeptics, the four-song stretch of “New York City Cops,” “12:51,” “Last Nite” and “Reptilia” to finish the night surely convinced any lingering holdouts. Demonstrating razor-sharp wit and good-natured self-effacing self-awareness as the closer kicked off, Casablancas intoned, “We’re not gonna take it,” a not-so-subtle jab at the track’s percussive resemblance to the Twisted Sister tune. All jokes aside, though, this headlining set marked both a redemptive Shaky homecoming and a joyful return to form for one of the early aughts’ seminal bands, one that seems to have started to accept the mantle of being a revered legacy act. – MR
