By Azzam Bilal 
HangupsMusic.com – Brooklyn, NY, The independent music landscape in New York City is often characterized by its constant state of flux, yet certain events manage to capture the lightning-in-a-bottle energy of the underground with surgical precision. Bazooka! Fest, the burgeoning independent music celebration, has officially confirmed its return to Brooklyn this summer. Scheduled for August 22 and 23, the 2026 iteration of the festival promises to build upon the momentum of its debut year, transforming the industrial corridors of The Meadows and the Wood Shop into a sanctuary for lo-fi legends, indie-pop pioneers, and the most compelling voices in modern songwriting. This year’s lineup is headlined by Dan Bejar, performing under his celebrated moniker Destroyer, who joins an already formidable roster of artists including Stephin Merritt, Joanna Sternberg, Times New Viking, and Sad13.
The festival is the brainchild of Jake Whitener, a figure whose pedigree in the independent music sector is well-established. As the former A&R director for Matador Records, Whitener spent years at the epicenter of the genre, helping to shape the trajectories of bands that would eventually become the blueprints for the modern "indie" sound. His transition from the boardroom of a legendary label to the helm of a grassroots festival was driven by a desire to return to the roots of curation. Whitener has been vocal about the specific inspirations behind Bazooka!, citing the legendary All Tomorrow’s Parties (ATP) in the United Kingdom and the Athens Pop Fest in Georgia as primary influences. These festivals were famed for their "artist-curated" or highly specific aesthetics, prioritizing a cohesive musical narrative over the sprawling, often disjointed lineups seen at major commercial festivals. Whitener’s vision for Bazooka! is to create a space where the lineage of underground rock and pop is visible—where iconic veterans share the stage with the very artists they influenced.
Headlining the 2026 event is Dan Bejar of Destroyer. Known for his cryptic, poetic lyricism and a discography that has meandered through glam rock, synth-pop, and orchestral folk, Bejar remains one of the most enigmatic figures in the North American indie scene. For Bazooka!, Bejar is slated to perform a solo set, a format that strips away the lush arrangements of his recent studio work to reveal the sharp, biting architecture of his songwriting. This performance style offers a rare intimacy, allowing the Brooklyn audience to engage with the raw wit and melodic sensibilities that have made albums like Kaputt and Poison Season modern classics.
Joining Bejar is Stephin Merritt, the mastermind behind The Magnetic Fields. Merritt’s inclusion underscores the festival’s commitment to the "craft" of songwriting. As the architect of the monumental 69 Love Songs, Merritt is a songwriter’s songwriter, known for his baritone delivery and his ability to subvert traditional pop structures with irony and deep emotional resonance. His presence at Bazooka! serves as a bridge between the 1990s indie-pop explosion and the contemporary era, providing a masterclass in the art of the three-minute pop song.
The festival also highlights the meteoric rise of Joanna Sternberg, whose vulnerability and folk-adjacent arrangements have garnered widespread acclaim. Sternberg’s music feels like a conversation in a crowded room that suddenly goes quiet, a quality that aligns perfectly with Whitener’s goal of utilizing smaller, more intimate venues like the Wood Shop. By placing Sternberg on the same bill as Merritt and Bejar, the festival illustrates the "ever-evolving nature" of the genre that Whitener referenced in his mission statement.
Adding a layer of grit and noise to the proceedings are Times New Viking and Cloud Nothings. Times New Viking, the Columbus, Ohio-based trio, were essential figures in the "shitgaze" and lo-fi movements of the late 2000s. Their return to the stage is a significant draw for fans of distorted, high-energy pop that refuses to be polished. Similarly, Cloud Nothings, led by Dylan Baldi, bring a more aggressive, post-hardcore edge to the lineup. Over the last decade, Baldi has refined his sound from bedroom lo-fi to a thunderous, emotive wall of sound, making Cloud Nothings one of the most reliable live acts in the independent circuit.
The 2026 lineup is remarkably dense, featuring a wide array of talent that spans the spectrum of "underground" music. Among the announced performers are Kiwi Jr., the Canadian quartet known for their jangle-pop sensibilities and observational lyrics, and 2nd Grade, whose power-pop miniatures have earned them a dedicated following. The roster continues with Sad13, the solo project of Speedy Ortiz’s Sadie Dupuis, whose work blends intricate guitar work with feminist perspectives and bubblegum hooks. Other notable inclusions such as Colleen Green, Chime School, and Josephine Network ensure that the festival maintains a high energy throughout its two-day run.
The choice of venues—The Meadows and the Wood Shop—is a deliberate one. Located in the East Williamsburg/Bushwick area, these spaces represent the current pulse of the Brooklyn DIY-adjacent scene. Unlike the massive outdoor stages of Coachella or Lollapalooza, these venues offer a sense of proximity between the artist and the audience. This intimacy is central to the Bazooka! philosophy. It allows for the "super curated" feel that Whitener admires in festivals of the past, where the distinction between "headliner" and "support act" feels less like a hierarchy and more like a shared community.
Looking back at the festival’s inception in 2025, it is clear that Whitener’s experiment has struck a chord. The inaugural year featured a "who’s who" of indie royalty, including Elf Power, the Moles, Pains of Being Pure at Heart, and James McNew of Yo La Tengo. By launching with such a strong statement of intent, Bazooka! established itself as a tastemaker event rather than a mere commercial venture. The 2026 edition continues this trajectory, expanding the lineup while maintaining the rigorous standards of quality and influence that define the Matador Records ethos Whitener helped cultivate.
The full 2026 lineup also features a diverse array of emerging and cult-favorite acts, including Asher White, Trinket, Love, Burns, Hang Him To The Scales, The Alaskas, and Little Chair. The roster is rounded out by Winston Hightower, PARKiNG, TV Buddah, Uniflora, Lex Walton, Great Lakes, Giant Day, Garment District, $500, Vivian, Sleeper Fencel, and Sunshine Convention. This extensive list suggests a festival that is not afraid to take risks, offering a platform for newer voices to perform alongside established legends.
In a statement regarding the festival’s origins, Whitener reflected on the importance of these specific types of musical gatherings. He noted that the goal was to celebrate the "beautiful way" that underground rock and pop continue to grow and shift. By pairing iconic artists with the bands they directly influenced, Bazooka! creates a living history of the genre. It is a celebration of the "indie" label not just as a marketing category, but as a genuine aesthetic and community-driven movement.
As August approaches, the anticipation for Bazooka! Fest 2026 continues to build. In an era where the music industry is increasingly dominated by algorithms and massive corporate festivals, Bazooka! stands as a defiant reminder of the power of human curation. It is a festival built by a fan, for fans, rooted in a deep respect for the history of independent music and an optimistic eye toward its future. For two days in Brooklyn, the Meadows and the Wood Shop will serve as the center of the indie universe, proving that the underground is not just surviving, but thriving. Tickets and further schedule details are expected to be released via the festival’s official social media channels in the coming weeks, as the local and national music community prepares for what is shaping up to be the definitive indie event of the summer.
