We Love Green 2026: The 15th Edition That Doubles as a Generational Handoff
We Love Green turns 15 in 2026 with Gorillaz, The xx, Little Simz, Charlotte de Witte and a lineup that maps the exact moment indie-electronic culture hands the baton.
By Gabin Fay
Fifteen editions in, and the bookers at We Love Green are doing something that almost never happens in festival programming: they are being consistent in interesting ways. Not safe — consistent. The 2026 lineup for the Bois de Vincennes dates (5–7 June 2026) doesn't feel like brand maintenance. It feels like a thesis being argued over three days in a forest: here is where the culture was, here is where it is now, and here — look closely — is where it is going. Gorillaz open on Friday with an album just out, The xx close on Sunday with their first French show in eight years, and between those two 2010s-canon bookends sits everything the next wave has been quietly building. That tension — between established significance and arriving importance — is what makes this the most interesting We Love Green lineup in at least five years.
The 15th anniversary is also the first edition under new ownership: Combat group and AEG Presents France took an 80% stake in July 2025, with We Love Art and Because Music retaining 20%. Early bird tickets went on sale on 11 December 2025. The question that surrounded the acquisition — would a larger corporate entity flatten the curatorial instinct that has made We Love Green one of Europe's most consistently surprising boutique festivals — has been answered, at least provisionally, by this lineup. The bookers haven't been overruled.
→ We Love Green 2026: the 50-track Playgen playlist is generating right now — back online soon. (Spotify quota cooldown; refresh in a few hours.)
Gorillaz — The Mountain (2026). The album that frames Friday night.
The handoff thesis
Any music festival lineup is, at its core, an argument about what matters. We Love Green 2026 is making a specific argument: that the generational transition in indie-electronic culture is happening right now, and that the festival sits exactly at the hinge point.
On one side: Gorillaz and The xx. Both are acts whose cultural weight was established between 2001 and 2012, who have remained relevant through formal restlessness rather than nostalgia, and who represent a particular kind of 2010s seriousness — the idea that electronic-adjacent rock music could carry emotional weight at stadium scale. Gorillaz opening on Friday with The Mountain, their 2026 record, frames the weekend as a tour-of-record show for one of the decade's most consistently adventurous major-label acts. The xx closing on Sunday with their first French show in eight years is, in effect, a reminder: this is the festival that understood why those records mattered before the mainstream caught up.
On the other side: Theodora and Addison Rae co-headlining Saturday. That pairing is the 2026 version of a question We Love Green has always been comfortable asking — who are the artists arriving right now, before the consensus has formed? Theodora is one of the most interesting French pop voices to emerge in the past three years: emotionally direct, formally odd, building a fanbase through quality rather than virality. Addison Rae is a genuinely complicated case — a figure who came to music through TikTok celebrity, worked with A.G. Cook and the extended hyperpop orbit, and has built a body of recorded work that holds up independently of her fame. The pop-cultural optics of that Saturday headliner slot will generate discourse. The music will justify it.
Then, running under both layers, the electronic spine: Charlotte de Witte returning to La Clairière for what is at least her third significant French festival appearance in recent years, Overmono on a stage they're clearly about to grow out of, Bambounou b2b HAAi in what is technically the most unusual booking on the entire bill, KI/KI representing the Amsterdam trance-revival wave, Soulwax anchoring the Saturday evening with a live set that will be exactly as good as it sounds on paper. That spine is what separates We Love Green from festival contemporaries that lean either wholly on indie or wholly on club culture. The forest floor keeps the electronic tradition intact while the stages above it reconfigure.
Friday 5 June: Gorillaz, and everything that follows
Gorillaz — Cracker Island (2023). The album that set up Friday's opening night.
Gorillaz at We Love Green is not a debut. They played the 2022 edition in what was, by most accounts, a technically extraordinary show that demonstrated the full breadth of Damon Albarn's guest-rotation machine — fifteen or more collaborators rotating through an open-air set that felt more like a studio session with an audience than a conventional festival headliner. The 2026 booking is a different proposition: The Mountain dropped earlier this year, and the set will be structured around it. Albarn has said in interviews that the album is explicitly about Indian classical music's relationship to Western electronic production — Anoushka Shankar, the Amaan Ali Bangash and Ayaan Ali Bangash, Sparks, Black Thought, Bobby Womack (in archive form), and Kara Jackson all appear on the record. The live version will involve some subset of that collaborator list. Gorillaz shows are, in part, release events for collaborations that otherwise wouldn't have a stage.
Little Simz is on the same bill, and that is not an accident. Simz has appeared on Gorillaz tracks in the recent era, and is one of the most formally complete live performers currently working in UK rap — her Mercury Prize-winning run over the past five years has produced a catalogue depth that translates into festival sets of unusual coherence. She's not doing the hits-only version of herself; she's doing the album-as-statement version. The crowd that comes for Gorillaz will encounter someone building a career of comparable ambition at an earlier stage.
The mid-card on Friday is where the day's personality really emerges: Feu! Chatterton (the French rock band who have been building towards this level of visibility for a decade), Dijon (an American singer-songwriter operating at the intersection of indie-folk and R&B in ways that consistently surprise), Sébastien Tellier (the Parisian art-pop veteran whose presence at WLG has the quality of a homecoming — the We Love Art founders came out of the French electronic scene that Tellier occupies), and the extraordinary Sudan Archives. Brittney Parks performs as Sudan Archives with violin and electronics in a way that makes the category question irrelevant: genre doesn't describe what she does, only "singular" does.
Lower in the order but worth building the evening around: Jim Legxacy, a UK artist who has been accumulating critical heat for eighteen months, is in what amounts to the peak-cult-pre-mainstream window. The moment you see his name mid-card at We Love Green is the moment you realise you should have been paying attention. Etta Marcus, a German-British songwriter working in the fragile-but-precise mode of the best of that sound. DJ Gigola, whose sets in Paris's club infrastructure have been building a reputation that crosses the gap between afterhours electronic and festival-ready. ¥ØU$UK€ ¥UK1MAT$U, the Japanese artist whose ambient-electronic work operates in a zone of its own. Tatyana Jane, Yoa (a Franco-Belgian alt-pop artist whose booking here has the feel of the bookers' "you'll thank us in two years" slot), Luvcat, and the songwriter Adés The Planet.
Saturday 6 June: The brat Saturday (a reading)
Gorillaz — Song Machine, Season One (2020). The collaborative template.
The curatorial coherence of Saturday becomes clearer if you approach it with a specific lens. Oklou is on the bill. Addison Rae is co-headlining. Both operate in an extended orbit that connects to the sensibility that A.G. Cook and the PC Music label described — a kind of maximalist, self-aware pop that takes the emotional logic of teen music seriously while treating its formal conventions as material to work with rather than constraints to observe. Addison Rae's recorded work with Cook is openly in that lineage; Oklou, the French artist Marylou Mayniel, occupies an adjacent zone: bedroom-electronic, emotionally precise, the kind of music that Charli XCX called out directly in her brat album rollout.
Hayley Williams is performing her first French solo shows during this period. The Paramore vocalist has been building a solo catalogue since Petals for Armor (2020) that operates in deliberately different territory from the band — softer, stranger, more willing to sit in uncertainty. Bringing her to a festival that historically prioritises emerging and avant-garde acts is the kind of lateral booking that explains why WLG continues to attract audiences who are resistant to mega-festivals. And Theodora — the co-headliner alongside Addison Rae — is arguably the most telling name on the entire Saturday bill. She is a French artist who has been doing something quietly exceptional for three years: making pop music that is direct without being obvious, emotionally coherent without being sentimental. Her presence at the top of the Saturday bill is a statement about where French pop is going.
The electronic side of Saturday is where the weekend's most committed dance-floor programming lives. Overmono — Tom and Ed Russell, from Cardiff — have built one of the most precisely engineered sounds in contemporary electronic music: rave-derived, melody-first, physically insistent in a way that rewards an open-air setting at dusk. They are about to significantly outgrow the stage they'll be playing. KI/KI is the Amsterdam producer Kristina Arakelyan, who has emerged as one of the most interesting voices in the trance revival that has been building through Amsterdam and Berlin's underground club circuit for the past three years — harder-edged than the nostalgia wave, more interested in structure than heritage. DJ Heartstring and Blu Samu round out a Saturday electronics programme that runs from late afternoon into the hours where the covered LaLaLand stage becomes the festival.
Mid-card Saturday also has Mac DeMarco, who remains one of the most purely enjoyable live performers in indie rock — and whose crossover with the Dijon fanbase is real enough that a Dijon-walks-on-during-DeMarco cameo would surprise no one who's been watching both careers. Lancey Foux, Bamby, Jeune Morty, NeS, LB aka Labat, Alewya, Jetlag Gang, Any Young Mechanic: the lower Saturday slots represent a complete survey of where new French and UK rap and R&B is pointing.
Sunday 7 June: The xx, Ethel Cain, and the forest floor
Gorillaz — The Now Now (2018). Restraint as a formal choice.
The xx closing Sunday is, on paper, a booking that looks backward. They are a beloved band with a specific aesthetic legacy — the xx album (2009), the specific emotional territory of young-adult longing rendered in minimalist guitar and bass and Romy and Oliver's interlocked vocals — and their return to France for the first time in eight years will be received with the weight of that legacy. But this reading misses what's actually happening. Jamie xx's solo career since In Colour (2015) has moved consistently toward dance music, toward the floor, toward a kind of structural maximalism that the band's early work deliberately avoided. The Sunday closer is not a nostalgia booking. It is the logical endpoint of a day that builds from Charlotte Cardin's pop precision through Ethel Cain's gothic Americana through Charlotte de Witte's techno to a band that contains all of those impulses in some form.
Ethel Cain is the name on Sunday's bill that deserves the most careful attention. The Alabama artist (Hayden Anhedönia) released Preacher's Daughter in 2022 to the kind of reception that marks a generational statement — a gothic Americana record that operated simultaneously as Southern Baptist trauma narrative, horror-cinema aesthetic, and genuinely affecting pop songwriting. The follow-up Perverts (2024) deliberately alienated a portion of that audience with its difficulty. The 2026 touring cycle, reported as the Willoughby Tucker, I'll Always Love You campaign in some French press, finds Cain at the cusp of a mainstream-indie crossover that is already happening. Sunday at WLG is the largest French audience she will have played.
Charlotte de Witte returning to WLG continues her positioning as one of the few techno artists who can anchor a mixed-programming festival rather than solely operating in dedicated club/festival-techno contexts. She has built her career on a Drumcode-adjacent sound — hard, structural, minimal in the specific Belgian-techno tradition — and her recent appearances in France have been among the most technically impressive electronic sets on the festival circuit. The La Clairière setting suits the music perfectly: a roofed stage where the sound system can be tuned for low-end in a way the open main stage can't.
Charlotte Cardin is the Montréal artist who has spent the past five years building one of the most coherent pop careers to emerge from the Francophone world — her Phoenix (2021) and subsequent catalogue have found an audience that crosses language barriers. Marina (Marina Diamandis) is a genuine WLG-aesthetic fit: art-pop, emotionally direct, theatrically aware. Role Model, BB Trickz (the Barcelona artist whose viral upcurve through the first half of 2026 makes this booking look like excellent advance intelligence), Dom Dolla for late Sunday electronic, Soulwax with one of the live sets that consistently draws the kind of crowd that compares notes afterward, Kettama and the remarkable Bambounou b2b HAAi confirmed booking.
That B2B deserves its own paragraph.
The B2B that doesn't exist yet
Gorillaz as the model for collaborative performance: confirmed guests, live coalescence.
The Bambounou b2b HAAi booking is, as far as this writer is aware, the first time a major French festival has announced a back-to-back set as part of the original lineup rather than as a last-minute scheduling note. B2Bs are typically announced days before, sometimes hours before. They happen at afterparties. They are informal affairs between friends or collaborators who are both booked at the same event. Committing to a specific B2B pairing in the festival's original announcement is effectively creating a new kind of event.
Bambounou — Jeremy Guindo, French, operating in a zone that crosses ambient-techno and club music in ways that consistently surprise — has been one of the most interesting voices in the WLG-adjacent electronic world for several years. HAAi — Teneil Throssell, Australian-born, based in London, Boiler Room alumna, one of the most technically precise DJs working in the space between techno, rave, and something more melodic — is a genuinely different kind of performer. A live B2B between them is not a predictable event. It is a creative collaboration with structural uncertainty built in. The fact that We Love Green committed to it in print, in the original lineup, makes it effectively a release event for a performance that doesn't yet exist.
This is the single most blog-worthy detail in the 2026 lineup. It suggests a booker (or bookers) who understand what the electronic community actually talks about, who have enough relationships on both sides to make the booking possible, and who are comfortable with the creative risk of announcing a collaborative format before either party has played it out.
The "first festival ever" credential
Tyler the Creator — Chromakopia (2024). He played WLG pre-Grammy, when it mattered more.
There is a specific argument that We Love Green's founders — Marie Sabot and Alexandre Jaillon, ex-Trax magazine, veterans of the French electronic scene — have been able to make for fifteen years: we saw them first.
PNL played their first ever festival concert at We Love Green. So did Aya Nakamura. Tyler the Creator played the festival before his Grammy win, before the stadium era, when the booking was a statement of intent rather than an obvious marquee. Rosalía performed at WLG before El Mal Querer took her to mainstream ubiquity. Migos played before they were a stadium act.
This is the most powerful credential in festival programming, and it compounds with time. Each new booking in the "emerging" slots acquires value retrospectively when the artist breaks through. The bet WLG placed on Tyler was vindicated when he became one of the most significant American artists of his generation. The bet on Rosalía was vindicated within eighteen months of her WLG appearance. The PNL booking — made before PNL had played any festival at all — is now part of French music history.
The 2026 equivalents are on the lower card across all three days. Jim Legxacy in the Friday mid-card is the closest thing to an explicit "this is going to look prescient" booking: UK critics have been circling him for eighteen months, and he is in the exact window between cultish attention and mainstream recognition that WLG has historically been best at identifying. Yoa in the lower Friday slots is the bookers' quieter bet: Franco-Belgian alt-pop that hasn't yet had its breakthrough moment. Dijon is past peak-cult but not yet stadium — the slowly, then all at once stage. Oklou has already had her critical moment with the French music press; WLG is giving her the stage appropriate to what she's become. BB Trickz in the Sunday card is the international emerging act that the bookers had advance intelligence on.
The through-line from 2012 to 2026 is a curatorial intelligence that operates two to three years ahead of consensus. That's not easy to maintain. The Combat/AEG acquisition creates structural pressure toward safer programming. The 2026 lineup is, at minimum, evidence that the intelligence survived the transition.
The bookers' taste signature, fifteen years deep
The WLG electronic heritage: what Trax and Trax magazine built.
Fifteen editions is enough data to describe a pattern. Here is what We Love Green has consistently returned to, and what the 2026 lineup extends:
The Damon Albarn universe. Gorillaz played in 2022, return in 2026. Phoenix and Air have both appeared. The overlap between Albarn's aesthetic interests and the festival's taste profile runs deep — collaborative, formally ambitious, committed to the idea that popular music can carry intellectual content without becoming academic.
LCD Soundsystem as house band. James Murphy's project has played three editions (2016, 2024, 2025), most recently with their only French show of the year in 2025 — an explicit exclusive that the programming team negotiated and announced with the pride appropriate to an extraordinary coup. LCD at WLG functions less as headliner than as recurring institutional act, the band that the festival consistently returns to because the relationship is genuine.
French rap at the cutting edge. PNL, Booba, Orelsan, Lomepal, SDM, Vald, Tiakola, Disiz in the history; Theodora and Jeune Morty in 2026. The WLG curatorial track record in French rap is, across fifteen years, better than virtually any other festival's equivalent list: they have consistently booked French rap acts before consensus formed and maintained relationships that produce high-quality sets.
Björk-orbit art-pop. Björk herself played in 2018. FKA twigs in 2025, Solange in 2017, Ethel Cain in 2026, Oklou in 2026. There is a recognizable cluster of acts that operates at the intersection of experimental pop, visual art, and emotional extremity — WLG reliably makes room for that cluster and gives it appropriate billing.
Forward-techno from Berlin and the EU mainland. Charlotte de Witte's 2026 appearance continues a streak of forward-facing techno bookings that have historically given La Clairière its club-within-a-festival identity. Justice played in 2017 and 2024. Kavinsky in 2025. Soulwax in 2026. The Trax DNA is maintained.
UK rap with festival-ready production. Little Simz returns in 2026 (she appeared in an earlier edition). Tyler ran in 2018. Lancey Foux and Jim Legxacy in 2026. The bookers have consistently identified UK rap acts at the moment where their production scale supports an outdoor festival setting.
One veteran world-music booking per year. Tinariwen and Khruangbin-adjacent acts have held this slot in past editions. In 2026 it belongs to Yasmine Hamdan — the Beirut-born, Paris-based singer whose work bridges Arabic musical tradition with contemporary electronic production. This is the slot that makes the festival feel geographically wider than its Paris 12e address suggests.
Bedroom-pop to hyperpop wave. Magdalena Bay, The Dare, Horsegirl appeared in 2025; Addison Rae, BB Trickz, and the broader Saturday hyperpop-adjacent card in 2026. The festival has tracked the evolution of internet-derived pop sensibilities from the chillwave era through PC Music to its current post-brat moment, which is an extraordinary record of curatorial consistency across a fifteen-year period of genuine aesthetic upheaval.
Think Tank, comedy, and the honest counter-argument
We Love Green's Think Tank stage turns fifteen alongside the festival itself in 2026 — a double anniversary that the programming team has reportedly approached with renewed ambition. The stage, which has historically hosted French intellectuals, activists, and artists for talks and debates that sit at the intersection of political urgency and cultural analysis, is reporting 2026 programming around themes of techno-fascism, resistance mechanisms, and ecological urgency. Journalist Salomé Saqué and activist Camille Étienne are reported as speakers, per French press coverage at the time of writing — though their appearances have not been officially confirmed on the festival's site as of this piece going to publication. Expect further announcements.
Orelsan — Civilisation (2021). The French rap tradition of political honesty that Think Tank extends.
The 2026 edition also adds a dedicated comedy stage — "engaged comedians" in the festival's framing, politically aligned with the Think Tank ethos. This is a new addition and represents an attempt to widen the festival's cultural programming without diluting its political coherence. Whether that succeeds depends entirely on the specific bookings, which had not been announced in full at the time of writing.
The festival's ecological commitments deserve the honest account they merit: 76% waste recycling (as reported by Clash in 2024), dry-compost toilets across the site, a food village that is fully vegetarian with over fifty vendors, eco-designed staging, and a Alain Ducasse plant-only culinary presence in previous editions. The independent assessor A Greener Future validated the 2025 edition as the lowest-carbon festival year to date. These numbers are real and they represent a genuine commitment to infrastructure changes that cost money and require years to implement.
The honest counter-argument also requires mentioning: France Nature Environnement (Christine Nédélec) has criticized the June dates on grounds that the Bois de Vincennes's bird nesting season overlaps with the festival footprint. The criticism is specific and not dismissible — the Belle Étoile meadow and its surroundings are active bird habitat in early June, and the site's annual transformation does have ecological costs that the recycling numbers don't capture. The festival has engaged with this criticism in design choices (reduced ground cover damage, revised access routes), but the fundamental tension between a June festival in a Paris forest and the breeding cycles of its resident bird population is not fully resolved. That tension is worth naming.
Weather and the LaLaLand doctrine
The covered electronic stage and what bad weather made necessary.
We Love Green has developed a relationship with weather that is, at this point, architectural. The covered LaLaLand stage exists partly because 2022's Saturday was cancelled due to a thunderstorm that forced the evacuation of forty thousand people — an event that clarified what it meant not to have a covered option when the Bois de Vincennes turned hostile. LaLaLand's development as a programming entity in its own right (Four Tet's 2024 set was reported across multiple sources as the best of the weekend, in the rain, while the outdoor stages were challenged) is a direct response to the meteorological record of June in Paris.
That record is informative: 2022 brought the thunderstorm evacuation on Saturday June 4. The 2024 edition ran in persistent rain across the weekend, with LaLaLand thriving while BadBadNotGood's outdoor set was hampered by conditions. The 2021 edition was cancelled entirely due to the pandemic. The 2020 edition ran as an online-only format with Beck, Metronomy, and Courtney Barnett in a surreal domestic register.
The LaLaLand strategy means that Bambounou b2b HAAi, Charlotte de Witte, Overmono, KI/KI, and Soulwax all have the protection of a covered room if the Bois de Vincennes decides to perform its meteorological tradition. This is not incidental. It is a festival that has learned from its own weather history and built its programming infrastructure accordingly.
Surprise-set forecast and cross-pollination
Slowdive — everything is alive (2023). The emotional restraint that The xx extended.
We Love Green has a quiet tradition of collaborative moments that weren't in the programme. The 2023 edition featured a Myd surprise set that Hunger Magazine described as "better than if it had been announced." The Chilly Gonzales appearance at the 2024 edition — a pianist on a dance-leaning festival, unannounced, playing to a crowd that hadn't come expecting piano — was called the best set of the weekend by Clash. These aren't accidents; they're enabled by a programming culture that builds relationships rather than just contracts.
The structural cross-pollinations in 2026:
Sudan Archives × Overmono — both on Friday and Saturday respectively, both occupying adjacent aesthetic territory (rhythm-forward, melodically rich, formally rigorous). A B2B cameo or shared moment at the crossover between their sets is plausible given the circles they travel in.
Gorillaz guest book, Friday — Damon Albarn builds every Gorillaz show around confirmed guests, and the Mountain cast is large and global. Little Simz is on the same night and has Gorillaz collaboration history. Feu! Chatterton's members have French music industry connections that cross Albarn's Paris orbit. Friday is, by design, a show structured around who walks on when.
Dijon × Mac DeMarco, Saturday — overlapping lo-fi, indie, emotional-directness fanbase. Both are committed live performers who respond to the energy of specific audiences. A Dijon-walks-on-during-DeMarco moment would require nothing more than two artists who have been in the same rooms for years and a shared afternoon backstage.
The Saturday "brat" axis — Oklou and Addison Rae are on the same day, in adjacent aesthetic territory, in a moment where the brat cultural wave is still generating its aftershocks. Whether or not they share a stage, the day's programming creates conditions for a collaborative statement that would make sense in the current moment.
The forecast: who gets bigger from here
Seven names on the 2026 bill who are in the exact window where WLG appearances historically convert into breakthrough trajectories:
Jim Legxacy — the UK artist is at peak cult: the critics have noticed, the industry is watching, and the mainstream hasn't yet caught up. This WLG slot is the equivalent of the Tyler 2018 booking in terms of timing. Watch the trajectory over the next eighteen months.
Oklou — Marylou Mayniel has already had her critical breakthrough moment in France, but her international footprint is still developing. The WLG platform reaches a European audience that can accelerate that.
BB Trickz — Barcelona-based, with a viral upcurve running through the first half of 2026. The booking suggests the WLG team had the intelligence ahead of the trend.
Ethel Cain — the Willoughby Tucker campaign is finding the broader indie-pop audience that Preacher's Daughter deserved. Sunday WLG is the largest French crowd she'll have played. This is the conversion moment.
Dijon — the American singer-songwriter has been building slowly and without the benefit of a breakthrough single. The patient approach has produced a live show that consistently converts new listeners. The "slowly, then all at once" stage is now.
Yoa — the Franco-Belgian alt-pop booking is the quietest bet on the bill, and the one that the bookers' track record suggests is the most intentional.
KI/KI — the Amsterdam trance-revival figurehead is building an argument for trance as a serious electronic form, not a nostalgia act. The Saturday electronic programming at WLG gives her the platform to make that argument to an audience that hasn't been converted yet.
Practical information
We Love Green 2026 runs 5–7 June at Plaine de la Belle Étoile, Bois de Vincennes, Paris 12e — accessible by RER A or Métro Line 1 (Château de Vincennes). The site is approximately forty hectares and has been developed over fifteen editions to a high standard of infrastructure.
The four main stages are La Prairie (open-air main stage), La Clairière (open-air second stage), La Canopée (a stage nestled in the tree canopy at the forest edge), and LaLaLand (the covered electronic stage, capacity approximately 2,500, with a sound system designed for the kind of low-end density that Charlotte de Witte and Bambounou b2b HAAi will require). The Think Tank stage and the new comedy stage are additional programming spaces.
The food village is fully vegetarian, with over fifty vendors. The festival has validated eco-commitments through A Greener Festival's independent certification. The 2026 edition marks the first under the Combat/AEG ownership structure, and the organizers have maintained that the programming team is unchanged.
Sources
We Love Green official site: welovegreen.fr
We Love Green Instagram (lineup announcements): @welovegreen
Combat group acquisition reporting: Les Echos, July 2025
A Greener Future / Green Operations festival audit 2025: agreenerfestival.com
France Nature Environnement — FNE Île-de-France statement on June festival dates, multiple years
Clash Magazine coverage, WLG 2024 (Chilly Gonzales best set of weekend; rain reporting; LaLaLand coverage): clashmusic.com
Hunger Magazine, WLG 2023 (Myd surprise set coverage): hungertv.com
French press reporting on Think Tank speakers (Salomé Saqué, Camille Étienne): reported, not officially confirmed at time of writing
Gorillaz — The Mountain album announcement and tracklist: gorillaz.com
Spotify playlist — generated via Playgen: playgen.fun