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Stoopfest 2026 Proves the Community Building Power of the Michigan DIY Scene

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Stoopfest 2026 filled nine venues across East Lansing, MI on May 8th and 9th, bringing together scene darlings, hard hitting headliners, and a community of caring and connected music lovers. The festival celebrated its 9th year with a parade, a whopping 89 official sets (and at least 3 surprises), and a community that filled both aftershow venues to full capacity both nights, with long lines leading out the door.

 

In the midst of the seemingly endless options for music, I was able to catch 23 sets, check out my thoughts, and, more importantly, the photos, out below.

 

Day 1

 

 

MustSeeTeeVee

 

 

 

MSTV opened up the festival at Julia’s Stage in Hunter Park, a cozy gazebo that would be occupied by 10 bands over the course of the festival. The East Lansing-based group served as an appropriate start to the weekend, delivering the perfect chill energy needed to get the crowds ready to keep moving for the next 2 days. I am also a huge fan of art on guitar bodies, so I am happy to report that the weekend started right with some hand-drawn Sharpie on cardboard temporary guitattoos.

 

 

 

NUNYA

 

 

 

Next up, over at the Allen Neighborhood Center, was another local scene opener in the form of NUNYA. Where MSTV provided the plate setting for the park’s more, well, park-like vibe, NUNYA established the imperative to two-step in the ANC parking lot. Brash and bouncy, honestly, the best way to describe this band was the sticker I saw affixed to the lead’s pedal board: “Lansing Rules You Suck.”

 

 

 

Pretty Bitter

 

 

Following NUNYA at the ANC was Washington, DC-based Pretty Bitter. There are so many wonderful things to talk about with this band: the gliding indie pop synths, the driving power of the whole ensemble, and above all, the drummer’s pure and unabashed enthusiasm. I’m certain I tried to capture how they simply could not stay seated, but I don’t know if I’ve ever seen a drummer who so immediately commanded the entire crowd’s attention with their sheer energy.

 

 

 

Tequila Mockingbird

 

 

 

Local legends Tequila Mockingbird would next grace the ANC stage. I was able to catch this band years ago as a one-piece with an acoustic guitar in Detroit, and ever since then, I have been hooked. For the uninitiated, Tequila Mockingbird is classic gritty garage emo. So much so that their bassist, Kiefer, is the force behind the legendary venue and promoter The Goblin Zone. Their bandmate and TQM lead, Joe, shows a high level of songwriting creativity and unmatched talent. Both members are also just excellent scene members, handing out earplugs, visiting with fans, and spending more time out in the crowd at the show than on the stage playing. They seem to truly enjoy being a part of this scene, and they look cool doing it.

 

 

I think it’s worth mentioning as well that Kiefer was not simply a member of a band but served as a production manager for the entire festival and so spent most of day 2 zipping back and forth on a golf cart to make sure all the stages were flowing how they needed to. I swear I saw that golf cart get a couple of tires off the ground at one point. Just wanted to make sure they felt seen since so much work goes unseen to put on an event like this. A little mid-review call to arms, but spaces like this would not be possible without people like Kiefer, so get out there and support Tequila Mockingbird and all the other projects that make our scene such a lovely place. Now back to photos.

 

 

 

Mystery Set: Leisure Hour

 

 

 

Filling the first “???” set spot of the weekend at the ANC stage were Muncie, Indiana emo darlings Leisure Hour. The energy that this band brought to the crowd is proof of their community angle. “Forgiveness”, off their crowd-funded debut album The Sunnyside, was a favorite, with just the right build until you drop into a raucous chorus that got the pit flowing back and forth from slow swaying dance to crashing walls of death and two-stepping.

 

 

 

Isaak and The Holy Guitar

 

 

 

The first aftershow set I checked out at the Green Door was Isaak and the Holy Guitar, and the name of this Ontario musician does not lie. This kid absolutely rocks, his energy onstage is only matched by his talent on that guitar. Thrashing, shredding, throwing his mid-back-length hair side to side and filling the stage like a full band. If you were worried whether the kids these days still have it, Isaak is living proof of the fact they sure as heck do.

 

 

 

Kali Masi

 

 

 

Kali Masi are a band that puts aesthetics at a premium, but doesn’t cut corners on meaning to get there. The Chi-town punks have clean riffs, tight basslines, and songs that carry both enrapturing melodic intuitions and deeply touching and effective lyricism. Their latest single “Searching for a Sunbeam” displays the work the band is willing to put into developing art that delivers on both sound and depth, paying off in a complex but deeply connected sound.

 

 

 

Rodeo Boys

 

 

 

Rodeo Boys were another band that I had seen once or twice before, and I was really excited to have them on the list for the weekend. These Lansing-based rockers have a sound that reminds you rock and country are cousins, and they might be the kissin’ kind. Rodeo Boys singer Tiff is one of those artists who is clearly putting every last drop into every moment of every song. Her intense delivery cuts through the distortion of their guitars like their bright blue eyes through the ever-changing light of the stage.

 

In expectation of around 50,000 steps the next day, I decided to turn in for the evening after this set. 8 sets down, 15 more to go.

 

 

 

Day 2

 

 

The Stoop Fest Parade

 

 

 

Day 2 of Stoopfest kicked off with a parade, starting at the ANC and tracing the path many would walk to Hunter Park. Led by the Stoop Goblin himself, with a marching band in tow, the parade brought together the whole Stoop community to announce the beginning of a day full of friends, music, and mutual care. Ending at Hunter Park lead right into the first set I caught of day two, Former Critics.

 

 

 

Former Critics

 

 

 

Opening the 89FM Stage and hailing from the Detroit, Michigan emo scene, Former Critics are a Pleasant Underground classic, and have not wavered in their intense, in your face, clash of sound. Every song seems both infinite in its rage and bursting at the seems to contain it. Their lead singer, Jess, slings herself over the monitors, screams until her veins start to bulge, and spends every moment of the set delivering her violent style through both sound and lyrics. If you need one song to exemplify this, listen to “Fist Fight” from their most recent album ‘I Wanna Be Dramatic.’ The song does what it says on the tin, delivering a punchy round of lyrical left hooks and electric guitar jabs. Former Critics are a band that absolutely deliver in their live performances, and enhance an already powerful sound with an even more commanding stage presence.

 

 

 

Ness Lake

 

 

 

Ypsilanti based Ness Lake was next up, this time over on Julia’s Stage. The trio brought a considerably more introspective tone to this smaller, more intimate, stage. Synth lines that seemed to creep and evolve from flowing soundscapes to tight indie pop melodies. “Fish Tank” stood out particularly, with its gentle guitar falling nicely into an acquiescent bassline. As for their time on stage, the members looked thoughtful, engaged with each other, and that deliberation came through as their music seemed to effortlessly fit into itself.

 

 

 

worm

 

 

 

One of my favorite parts of Stoopfest was the street venue called Marcus bus. A repurposed school bus parked partially blocking the street leading into Hunter Park, welcoming you to the festival proper as you walked in from the surrounding neighborhood. My first set at this bus was a one-piece acoustic set by Lansing local worm. Their sound and lyrics fall squarely in the bouncy, borderline rockabilly, bluegrass tradition, focusing on brash guitar, social criticism, and a deep empathy for the struggles of the oppressed. Songs like “The Ladder” and “Ghost Bones” both show off worms’ deeply emotional and impactful songwriting intuitions.

 

 

After departing from the Marcus Bus, I stumbled upon what appeared to be an unadvertised set by none other than the Stoop Goblin himself, from a porch that I must imagine bears some responsibility for the misnomer the festival’s title now is. In between some wonderful tunes, the Stoop Goblin was dropping wisdom. He talked about the importance of putting yourself out there, of asking and taking what opportunities come of those tasks, and that community and connectedness are the key to a successful scene. Judging by the quality and quantity of folks that populate Stoopfest each year, his advice is golden.

 

 

 

Keep for Cheap

 

 

 

After taking a brief respite at the Stoop Goblin stoop set, I pressed on back to the ANC for the Minnesota-based “prairie rock” quintet, Keep for Cheap. I’ll admit, the tent full of Finger Lickin’ KFC merch took me more time than it should have to figure out. The band’s sounds, however, I got immediately. “Forgive me” was folksy, almost bordering on bluesy at times, but constantly steering back into the more active and aggressive distortion of rock. The shift between dramatic emo vocals and airy twanged guitars created layers of music that add a secret spice (or 11) to their performance.

 

 

 

Rent Strike

 

 

 

By far the greatest feeling at a festival like Stoop is when you wander into a sort of magic that you could have never expected. Rent Strike at Julia’s Stage was that type of wizardry. The Lansing folk punk project created by John Warmb is a steadfast and unwavering pillar of anger, hope, and liberation. Approaching from behind the stage (a converted gazebo in Hunter Park) leant a view of a crowd moving as one. Not a mosh pit of individual violence, but a single unified act of cathartic and rebellious action.

 

 

Their songs, especially those off the anti-capitalist Tolkien based folk punk concept album titled IX, feel more at place being shouted back by a crowd of battle-vest adorned ruffians than coming from any electromechanical contraption that can stream the song nowadays. To be clear, the music still rocks even when it is reproduced, I listened to “II: The Road Giveth” double digits times in 2 days following seeing it live. I cannot wait for the album epilogue and new single “X: The Scouring of the State” to drop, hearing it live, it will be an arm-in-arm crowd singing instant classics.

 

 

 

Action/Adventure

 

 

 

Action/Adventure are self-described “Chicago Heavy Pop Punk” and there is no doubt in their living up to that claim. Cascading guitar riffs, emotionally saturated lyrics, hard-hitting and catchy hooks, and, honestly, a bunch of guys having a great time doing it. The last time I saw Action/Adventure was when they opened the AAA stage at Riot Fest in 2024. No shade to big venues and festivals here, but there is simply a level of connection you cannot get when you have a 4-foot metal barricade between you and the music (probably why crowd surfers are so desperate to get over it). Seeing “Big Al Dente” up close and personal at The Pickle Jar (a backyard most in line with the Stoop fest title) meant I could feel the music, I could connect with the artist. Dapping up fans, making eye contact, sharing the mic, these are all experiences you can have at a big fest, but you can only truly have when you are in someone’s backyard. As Action/Adventure said best “It’s getting so much harder to pass through all these barricades.”

 

 

 

Ratwyfe

 

 

 

Another huge change in pace came next, moving on to the Earth Home for Philly-based Ratwyfe. Toting the quirkiest (in a good way) fascist killing machine I’ve ever seen in the form of a ukulele with a kazoo taped to it, Ratwyfe performed an altogether new blend of Moldy Peaches-esque indie pop and more serious and introspective songwriting. As someone who grew up on Cartoon Network, I couldn’t shake the way they reminded me of Adventure Time, almost like if you let the end credits grow up into an adult, with all the baggage that adulthood brings, but still holding onto the whimsy of childhood. “Let’s B Goblins” rejects the uncomfortable strangeness of life, and yearning for a place and lifestyle where radical selfness is not only accepted, but expected.

 

 

 

 

Palette Knife

 

 

 

At this point in the day I was moving back and forth between the handful of small house venues around Stoopfest. Up next, I was heading for my first time to the Stockpot to see Columbus, Ohio-based Palette Knife. The small backyard deck with one of the most impressive pieces of fence art I’ve ever seen was the perfect setting for their show. 

 

According to the small black box that knows everything about me, I have listened to the song “Jelly Boi” for a total of 2.5 hours since August of 2024. To say that seeing that one song live made the whole trip worth it would be an exaggeration, but it would definitely also be closer to the truth than most people would wager it was. The band has an excitement and energy that at times exceeded the stage itself, narrowly dodging the intruding tree branches while energetically moving between their mics, their drummer, and each other while dancing easily through an impressively dynamic set.

 

 

 

Mal Blum

 

 

In the rush between stages I didn’t initially plan to make it to Mal Blum in time to catch any of the set. I was only able to see his last handful of songs, but I sure am glad I did. Similar to the other bands that graced the ANC stage, Mal Blum wields a strong and dynamic artistic voice. Bright pops of red across the stage, a near-perpetual cheek-to-cheek smile, and songs like “Better Go” and “Robert Frost” that practically compel the crowd to move, but maybe I’m just an easy dancer.

 

 

 

Hummus Vacuum

 

 

 

Following Mal were the Ohio based in your face pop punkers Hummus Vacuum. The first thing that struck me was their overflowing charisma and charm. Songs like “G-U-I-L-L-O-T-I-N-E” remind me of the type of music that accompanied PS2-generation low-poly action sport video games. Fun, splashy, heart-pounding tracks that make you want to jump up and start two-stepping or circle-pitting. The band’s natural chemistry as a group meant that the songs didn’t only sound fun, but they embody fun.

 

 

 

Mt. Oriander

 

 

Another group hailing from the Ferndale/Detroit emo scene are the ever easy-going Mt. Oriander. The solo project of Keith Latinen, a member of Parting and the former ex-lead of empire! empire! (i was a lonely estate), leans into his more reserved and focussed songwriting skills. I also appreciate his very open passion for his family, ensuring his children all have proper ear protection and outright refusing to start the set until he saw they did, one of the sweetest things I’ve ever seen at a concert.

 

 

With songs like “The Dark Parts of the Map are Places You Have Not Visited” demonstrate the classic midwest emo direction Latinen takes the band in, with earnest lyrics, long song titles, and a hilariously self aware approach to the direction and production of Spotify canvas clips (I think that’s what they are called). If you haven’t checked those on out Mt. Oriander’s music, definitely give them a look, each one is a beautiful little vignette into the life of the exact kind of nerdy fatherhood that makes you want to smile.

 

 

 

 

JER

 

 

 

I headed back to the ANC to catch one of the most exciting sets of the night, JER. I think I mentioned this before, but as a diehard Cartoon Network fan, and certified two-stepper, JER seems proof that Stoopfest is a fest for people like us. While the project that originally brought them popularity, Skatune Network, is no longer their primary focus, that’s for good reason. JER originals, like their album title songs “Bothered” and “Unbothered” show that musical flexibility is one of, if not JER’s biggest strength. 

 

 

Being able to maintain a unified and powerful theme across not only sounds, but supporting artists, shows a skill not only as a musician, but a stage leader. As many have mentioned before, it would be a shame to discuss the modern wave of ska without talking about the “CEO of Ska,” and JER’s ANC stage show proved just why they have that title.

 

 

 

 

Finalbossfight!

 

 

 

 

I may be biased, but Finalbossfight! are one more strong argument that Michigan may have the best local emo scene. Playing in the Stock Pot, Finalbossfight! turned the small backyard into a chaotic mosh frenzy.  The slow burn introduction of “How Do u Have Friends?” lulls you right into the perfect spot to get hit hard with the accusatory titular refrain, when, like a roller coaster restarting, chugs right back up that slow hill into another round of angered shouted refrains, Their songs all have a dangerously catchy edge, and will work themselves into your head even after a single listen.

 

 

 

The Hotelier

 

 

 

Christian Holden, the solo act at the heart of The Hotelier, cast a spell over the crowd at Julia’s Stage. He started the set by inviting the already ground sitting crowd to move as close as possible to him. This wasn’t a concert with a hard line between artist and audience; this was a conversation, a welcoming in; it felt closer to the days of an old travelling guitarist attracting a crowd than a highly organized and planned festival. 

 

 

Organic, earthy even, with quiet renditions of many Hotelier classics, but one stood out amongst the rest. I am unsure if I will ever be able to hear “Your Deep Rest” the same way again. The chorus took on a transcendent form, hanging palpably in the air in front of us. The crowd, still seated at his feet, swayed mournfully, moved not only by the music, but by the genuine closeness with which Holden presented it to us. 

 

 

Recreating the emotion of a full band song with a single six-string and your voice is a magical feat on its own. Elevating that song in a way that fundamentally changes it into a higher form is a near-impossible task that Holden seemed to accomplish effortlessly, like the 12-year-old grief of the song still sat at the forefront of the performance as real and prescient as it was when the song was written.

 

 

 

Pinkshift

 

 

 

 

The final park set for the night was the bombastic Baltimore badasses, Pinkshift. If The Hotelier was a nice bike ride down a cracked sidewalk in a town you once called home, Pinkshift was a bullet train straight to a bare-knuckle brawl. Pinkshift oozes cool, they are a project in pushing themselves to the edge, and seeing what new beauty comes from that pressure.

 

 

 

Their lead vocalist Ashrita Kumar seems to dump every last piece of herself into each song, and then gets right back up and does it again, and again, and again. Their energy is unmatched, and I genuinely fear for what would happen if you wound up on their bad side. Vengeful, angry, scorned, and sour, songs like “BURN THE WITCH” put on display the way their music functions not just as something to listen to, but as a message to the world: Pinkshift is not to be fucked with.

 

 

 

Good news, bad news. Good news is Stoopfest is so popular that both the bar venues were at capacity by the time Pinkshift’s set was over, and both had lines down the block. Bad news, that means I wasn’t able to get in for any of the Saturday aftershows. Advice to anyone attending next year, if you want to get to those sets, plan ahead and be ready to wait in line if the venues fill up.

 

With that said, Stoopfest 2026 seemed a sweeping success, bringing together some of the most diverse artists I have seen perform under a single banner. From quiet backyard ukulele pop to car crash loud drama punk in the park, Stoopfest put on a review of the local talent, while attracting heavy-hitting bands from out of town as well.

 

 

Plans and bookings are already happening for the Fest next year, according to the x page of one of the organizers, so look forward to another year of amazing sets, wonderful community, and a chance to see some of your favorite bands up close and personal.

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