Words by: Taylor McCallum
Photos by: Romy Caton-Jones
Four days, dozens of artists and one busy park: Øyafestivalen 2026 once again transformed Oslo’s Tøyenparken into a sprawling celebration of contemporary music. From gothic rock and politically charged punk to experimental indie, hip-hop, R&B, and enormous pop productions, the festival offered a remarkably broad range of sounds.
One of the festival’s opening performances came from Norwegian solo artist Emma Semonia, whose bass-heavy blend of R&B and hip-hop provided a strong introduction to Øya’s programme. Her production carried a distinctive, groove-led feel, with the influence of classic hip-hop production evident throughout. South Korean all-female trio Sailor Honeymoon followed with a lively set of punk and post-punk, combining energetic performances with humorous storytelling and spontaneous ad-libs that made the intimate moments between songs just as engaging as the music itself.
Later in the day, Australian punk band Amyl And The Sniffers brought their famously rowdy energy to the festival, delivering a loud, provocative performance that matched the unapologetic attitude of their music. The first day culminated in a headline performance from British gothic rock legends The Cure, who played an extraordinary two-and-a-half-hour set to a packed crowd. The band worked through a setlist full of their best-known songs and their nine-song encore was a fittingly extravagant conclusion. The scale of the performance underlined exactly why The Cure remain such an enduring live act.
Day two shifted the focus towards punk and soul. British all-female trio Lambrini Girls delivered a politically charged performance, combining furious punk energy with outspoken commentary on the British government. Bringing relentless energy to the stage, frontwoman Phoebe Lunny repeatedly encouraged the crowd to form mosh pits as the set went on. American new-soul artist Jalen Ngonda offered a striking contrast, demonstrating his musical versatility by playing both guitar and keys throughout his performance. At one point, his band left the stage entirely, leaving Ngonda alone to perform a 12-bar blues complete with improvised solos and soulful vocals — a showcase of musicianship that proved particularly captivating. To end the day, Norwegian rapper 2J brought his playful personality to the stage, performing alongside a live band and the somewhat surreal presence of a huge teddy bear.
By day three, the festival was firmly in its stride. British rapper AJ Tracey delivered an energetic set built around constant crowd interaction, even jokingly playing on the long-standing rivalry between Sweden and Norway. Norwegian pop artist May – who has built a following through viral TikTok success – was another standout, bringing a relentlessly high-energy performance that made her one of the weekend’s most memorable discoveries. Manchester four-piece Westside Cowboy offered a different kind of highlight, showcasing the appeal of a band without an obvious frontperson. With their female bassist and vocalist positioned centrally, the group created a collective stage presence before ending their set gathered around a single microphone at the front of the stage for a final acoustic song.
The final day brought some of the festival’s biggest performances. Irish country-pop artist CMAT delivered a characteristically playful and flirtatious set, engaging directly with the crowd and at one point pretending that an audience member was her ex-boyfriend. Beneath the humour, however, was the political conviction that has become an important part of CMAT’s public persona, with the singer continuing to speak out against the rise of global fascism while advocating for Palestinian rights, LGBTQ+ rights and bodily autonomy.
American R&B singer-songwriter Ravyn Lenae brought a visually engaging production to the festival, making use of stairs and platforms while incorporating choreography reminiscent of the performance-heavy pop and R&B stars of the 2000s. The festival’s closing highlight came from Norwegian pop star Dagny, whose headline-level production felt more akin to a stadium show than a summer festival set. Dancers, pyrotechnics, flames and pre-recorded visuals combined to create an enormous spectacle, while Dagny’s catalogue of pop songs kept the crowd engaged throughout. With songs that have reached audiences far beyond Norway, including appearances in shows such as Gossip Girl, Dagny’s performance demonstrated why she has become one of Scandinavia’s biggest contemporary pop stars — and made a convincing case for the weekend’s standout set.
Across four days, Øyafestivalen 2026 proved that its greatest strength lies not simply in the size of its headline acts, but in the variety of experiences it can offer between them. It remains a festival where emerging artists can stand alongside established names without feeling like fillers between headline slots. The result is a programme that feels carefully curated, musically adventurous and genuinely rewarding for those willing to explore beyond the biggest names.
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