Live Review: Wildlands Festival 2026 – The Ultimate Breakdown
Arena Joondalup in Western Australia | Saturday 3 January 2026
Review by Krystal in the Crowd (Dom Dolla, Kid Cudi, RONA, Cassian, Notion)
Review by Sheldon Ang (Addison Rae, Balu Brigada, Luude, 070 Shake, Jazzy, Fcukers, Chanel Tres, Kettama, Waxx Off, Zulan)
Photography by Sheldon Ang Photography
For a lot of people, the first weekend of January marks the last stretch of the festive break before the demands of 2026 kick in. After the limbo between Christmas and New Year’s Day, Wildlands Perth arrived on Saturday like a final exhale, the last weekend of freedom before work begins on Monday.
Perth’s live music scene has been blessed in recent weeks, hosting a string of big-name festivals and shows that kept the crowd turning out in huge numbers. Wildlands Festival returned to Joondalup on January 3rd as part of its 2026 Australian run, presented by Untitled Group, Beyond The Valley and Triple J. The festival sprawled across three distinct stages, offering sets in electronic, hip-hop and indie, with something for every taste and mood. The long walk in, with thousands streaming toward the site, immediately built anticipation, and as the music hit, my hair stood on end. That moment before you step through the festival gates is electric, setting the tone for the day.
Despite big crowds and the summer sweat, the vibe remained wholesome, with people dancing hard while soaking up some of the best performers in the dance music scene. This was a younger crowd overall, dressed for the heat with minimal layers and bright summer fits, moving comfortably between stages and looking out for one another as the day unfolded.
We stopped by to catch RONA, whose set drew a committed pocket of early dancers showing off their moves under the Orbit Stage tent. Rona Glynn-McDonald, also known by her stage name RONA, is an Aboriginal Australian DJ. Her selection leaned into rhythm and nostalgia, with the crowd responding warmly as she closed on “Sunshine on a Rainy Day,” a track that carried unmistakable 90s energy, briefly transporting everyone back to a simpler era.
Following that, Cassian took over the decks and the energy across the site lifted immediately. The Grammy Award-winning Australian DJ and producer is known for his melodic techno and house sound, including collaborations with RÜFÜS DU SOL. While not on the main stage, his set carried the confidence of an artist who has played festivals such as Tomorrowland, Coachella, EDC and Lollapalooza. Highlights included his remix of Fred again..’s Victory Lap, delivering polished moments that reflected his international standing while staying firmly connected to the crowd.
We moved quickly from the Orbit Stage to Sahara to secure a spot for Kid Cudi, a performance we had been eagerly anticipating. His appearance marked a return to Australian stages after more than a decade, a moment that carried clear significance for many in the crowd. A defining voice in modern hip-hop, Kid Cudi’s influence stretches far beyond his discography, particularly given his openness around mental health and his recent return following a challenging period, including his collaboration with Dom Dolla on Forever.
Throughout the set, he took time to speak openly, sharing that he will turn 42 later this month and reflecting on a career spanning 18 years and 13 albums. While ongoing sound issues made parts of the performance difficult to fully settle into from various points around the Sahara Stage, moments of connection still shone through. Between sips of tequila and playful comments to the crowd, Cudi leaned into fan favourites including Day ’n’ Nite, Memories and closed with Pursuit of Happiness (Steve Aoki remix), drawing a strong emotional response. His gratitude for being back on stage and able to travel was evident, offering glimpses of the honesty and vulnerability that have long defined his relationship with fans.
The first full moon of the year happened to be a super moon, casting its glow over the Summit Stage where we caught NOTION. The crowd was already packed shoulder to shoulder. The UK producer and DJ has become a standout name in contemporary dance music, known for his sharp blend of bassline, house and club-driven energy. His set leaned into crowd favourites, including Cherry and Hooked, alongside an unreleased remix of Get Out of My Head that landed with instant recognition. The Summit Stage pulsed as the crowd fed off his momentum, delivering one of the most consistently energetic moments of the night.
It was time to join the herd moving back across the arena to the Sahara Stage for the headline slot. Dom Dolla’s return to Perth was easily the most anticipated set of the day, and from the moment he stepped on stage it was clear why. The Melbourne-born DJ and producer has become one of Australia’s biggest electronic exports, known globally for his sharp house sound, festival-ready production and ability to command enormous crowds. With chart-topping tracks, international tours and major festival appearances across the world, Dom has built a reputation for sets that feel both polished and wildly energetic, and Wildlands was no exception.
He opened with Dreamin featuring Daya, setting an atmospheric tone before launching straight into Heads Will Roll by Yeah Yeah Yeahs, a moment that completely lifted the field. Almost instantly, people were up on shoulders as far as the eye could see, turning the Sahara Stage into a sea of movement. Midway through the set, girl$ landed as a clear crowd favourite, drawing one of the loudest singalongs of the night. Despite the chorus chanting “Girls don’t need nobody,” it was the guys who seemed the most animated, yelling every word back with full commitment and adding a playful, unforgettable moment to an already electric set.
As the night pushed on, the production evolved into something truly next level. Early bursts of flame from the stage set the tone, followed by sharp white lasers cutting through the sky. Around halfway in, the show shifted again as thick green beams flooded the arena, rolling overhead and into the next track like part of the music itself. Dom checked in constantly, calling out “You still with me WA?” before driving into Rhyme Dust. He later unveiled a new track sampling Totally Addicted to Bass, a clear nod to Australia’s dance music roots that landed perfectly with the local crowd. Miracle Maker and Savin’ Up kept the momentum surging before the night closed with a sped-up return to Rhyme Dust, fireworks lighting up the sky as Dom told Perth “I love you all so much,” declared it the best show of the tour and wished everyone a safe trip home. It was a finale that felt massive, immersive and completely earned.
While Dom Dolla closed out the Sahara Stage, SOTA was performing at the same time on the Summit Stage, meaning we only managed to catch the tail end of his set from the fence line. Even from a distance, his sound cut through and had us taken to another level yet again! The UK-born DJ and producer has been making serious waves in the drum and bass scene, known for his high-energy sets and ability to blend heavy bass with crowd-friendly hooks. As someone who has been firmly on my on-repeat list lately, hearing those final tracks drift across the site was enough to remind me why his name keeps popping up. The energy spilling from the Summit Stage suggested we missed something special, and it is one set I will absolutely be prioritising next time he is back in Perth.
As the night drew to a close, Wildlands Perth 2026 felt like a full celebration of music, summer and shared energy. From the early grooves that eased everyone into the day, through heartfelt moments, relentless dancefloor energy and a headline set that felt truly next level, every stage brought its own flavour while still feeling part of something bigger. The production, the performances and the crowd all fed into each other, creating a sense of connection that stayed long after the lights went down. Walking away, it was hard not to feel grateful for the music, the atmosphere and the collective joy that only a festival like this can deliver. Perth really did run wild. A huge thank you to all the artists, the teams behind the scenes for making Wildlands Perth 2026 a day and night to remember.
Photographer’s Corner by Sheldon Ang:
It was a festival for dance addicts, whether they were moving to the tremulous bass or the chillax world of jazzy pop. DJ sets were plenty, and trippy, undefined genres were discovered. Eclectic sounds, a soaring vibe, and a spirit that proves this festival is here to stay. After all, it was close to selling out.
As for the rest of the show…
Addison Rae brought a pop-charged burst of energy to Wildlands, a Britney-esque vibe of the ’90s. She stepped onto the Sahara stage with the confidence of a TikToker with 88 million followers. Backed by tight choreography and a stage design with steps and an LCD screen, she opened with that signature high-tempo flair via “Fame is a Gun”. She was lifted and performed a tango-like choreography with a dancer with a bolero flair. There were plenty of body swinging, theatrics, and choreography. She graced the stage in a trench coat, only to remove it after the second song, revealing a bra top and cyan-blue tights that complimented the muggy weather.
She later shifted into a more commanding groove, bringing a sharper, club-ready edge to her set with “I Got It Bad” – a Britney-inspired track that spread into her performance, replicating the vibe. Each drop hit harder than expected, sending ripples of movement across the Sahara’s packed floor.
By the time she closed her set, the entire field of youth locked into her rhythm. It was bold, fun, and way more dance-forward than some expected.
For this photographer, it was a pleasant surprise – incongruous with the thematic set of the festival.
Earlier on that day…
When the sun was high above our heads, Balu Brigada brought a slick fusion of indie‑pop charm and dance-ready grooves onto the main stage, Sahara, effortlessly winning over the crowd with their polished musicianship. The New Zealand duo blended shimmering synths, catchy choruses and tight live chemistry, creating the kind of feel-good energy across a festival field.
Jazzy brought one of the most infectious sets of the day, blending her signature dance‑floor heat with irresistibly smooth UK‑house finesse. The moment she stepped onto the Summit Stage, the energy shifted – basslines got deeper, the crowd pressed in tighter, and her crisp transitions kept everyone locked in. The massive circus-like mega tent was packed and the vibe was electric – not bad for a set early in the day.
The outdoor festival vibe came to fruition when Luude took to the main stage. By then, a sea of people filled the ground. The DJ/Producer tore into the Sahara Stage with the kind of high-octane energy, sending the crowd into euphoria under the simmering sun. “Down Under” landed like a thunderclap – that unmistakable flute sample skimming across the field before the bassline hit and turned the whole area into a jumping sea of bodies. He followed it with the drum‑and‑bass anthem “Big City Life,” which triggered one of the loudest sing-alongs of the day, voices punching through the summer air even before the drop. By the time he rolled into “Oh My,” the crowd was completely locked in, hands up, chests thumping with every kick.
Back to Summit, Fcukers’ took that bratty, punk-tinged energy that had people shouting lyrics back from the first chorus. Tracks like “Get Fcuked” and “Freak Me Out” turned the pit into a bouncing mess of sweat and attitude, everyone leaning into the madness with full commitment. It was cheeky, and completely magnetic – the type of set that didn’t just hype the crowd but created its own mini‑riot of joy.
Channel Tres real name Sheldon Jerome Young, brought a completely different shade of heat to Wildlands when he stepped onto the stage, blending his signature hip‑house swagger with a bass-heavy groove that rippled instantly through the crowd. Backed by his smooth, baritone vocals and razor-clean transitions, Sheldon was flanked by two performers, like as if they were a trio. That’s how well they synched. We were in a dream theatre, like in a late underground nightclub performance, except there were thousands in the tent. They moved between rhythmic club burners and fan‑favourite cuts with effortless control, turning the festival grounds into a late-night dancefloor even in the daylight. There was so much of swagger, the West Coast coolness in his rhythm to the tracks like “Topdown”, “Weedman” and “Jet Black”. It was one of those sets that changed the temperature of the entire festival.
070 Shake voice cut through the summer air with that unmistakable rawness as she moved between moody synths, dark hip‑hop edges, and soaring emotional highs. Her emotion mainly drowned by her hair, which added a vibe that defined her tracks. When she launched into “Guilty Conscience,” the entire field shifted – a rush of voices singing every word back at her. “Honey” hit just as hard, its haunting hook rolling out over the crowd in a wave that felt both intimate and explosive. Her performance was hypnotic, emotional, and completely captivating.
Chris Stussy delivered a cool groove, sliding onto the Summit Stage with the kind of effortless confidence that only a seasoned selector carries. His set was a smooth, rolling blend of deep house textures and crisp, percussive rhythms, each transition hitting with clean precision that kept the entire tent moving in lockstep.
KETTAMA hit Wildlands with the kind of pounding, high‑octane house energy that turns a tent into its own micro -festival. Each drop landed with chest‑thumping force, sending waves of movement from the front rail all the way to the back of the tent.
Zulan invited the crowd on stage while Waxx Off were grooving to an enthusiastic crowd in the Wilds Orbit tent who wanted to stay from the masses.
Sheldon Ang Media would like to thank Untitled Group and Wildlands Festival for the media accreditation
About the writer: Krystal Galloway lives and breathes music, finding her happy place in the sea of fans who come together to experience the magic of live performances. After attending her first concert – Justin Timberlake – her enthusiasm turned into a lifelong hobby. She has since seen over 100 of her favorite acts, including global superstars like KISS, Eminem, Foo Fighters, Blink 182, Usher, Nelly, Ne-Yo and Chris Brown, along with Australian favorites like The Screaming Jets, The Angels, Birds of Tokyo, Cold Chisel, and Bliss & Eso—just to name a few—all in her home city of Western Australia. With this extensive concert experience, Krystal has developed a deep appreciation for the artistry behind live performances, gaining a unique perspective on the dedication and energy that goes into every show.
About the Photographer/Writer: The founder of Perth-based Sheldon Ang Media (est. May 2022) has been accredited to more than 200 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), Backstreet Boys, KISS, Iron Maiden, RHCP, P!NK and Suzi Quatro with reviews shared by the likes of Belinda Carlisle, Roxette, Tina Arena, UB40, Delta Goodrem, Leo Sayer and Tina Arena on social media. He has interviewed rockers Suzi Quatro, Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS), plus over 70 artists. He’s also a contributor on Triple M Radio as a music journalist.
