Approximately one hour after The Go-Go’s classic “We Got the Beat” pumped through the festival’s mainstage speakers as part of Rodrigo’s pre-show playlist, no one expected another iconic 1980s hit to make an unexpected appearance on her setlist.

Following a powerful rendition of “favorite crime,” an awestruck Rodrigo introduced rock legend David Byrne for a duet of the Talking Heads classic “Burning Down the House.” The 73-year-old rocker, clad in a white tee and red overalls that perfectly matched Rodrigo’s ensemble, harmonized beautifully with her, exchanging lines of the 1983 hit while joyously dancing around the stage. Rodrigo even incorporated some of Byrne’s signature dance moves into their lively performance.

As the final set of the evening kicked off with her GUTS deluxe single “obsessed,” followed by the beloved “ballad of a homeschool girl,” Rodrigo slowed the tempo for a captivating series of emotional ballads.

Seated at the grand piano, she began with “Vampire,” setting the perfect mood for the trio of slower songs. As the song reached its climactic bridge, the crowd was primed and ready for her breakout hit and first Billboard Hot 100 No. 1, “drivers license,” which Rodrigo fondly reminisced about, stating that it defined a pivotal moment in her life. Closing this mini-segment was “traitor,” a clear fan favorite from her debut album, as the audience’s enthusiasm echoed even louder than before.

“I composed this song while I was falling for this boy,” Rodrigo playfully shared with her audience before diving into “so american,” a track from GUTS (spilled) that fans speculate was inspired by her relationship with English actor Louis Partridge.

“Perhaps you’ll relate to this feeling when you first fall in love, where every thought seems to revolve around them,” she elaborated. “As I was writing this song, I was driving and humming the chorus, which eventually transformed into this beautiful piece.” The audience soaked up every moment, cherishing the personal connection.

Aside from a shorter setlist, there were noticeable differences between Rodrigo’s festival performance and her extensive GUTS tour. For instance, the on-screen visuals were slightly altered, yet they remained consistent with the GUTS aesthetic.

Notably, her background dancers were absent during this performance, allowing the focus to remain solely on Rodrigo and her talented all-female band. She delivered a raw rendition of “pretty isn’t pretty” with just her acoustic guitar and later showcased her emotional ballad “enough for you,” using only her electric guitar to convey the heartfelt lyrics.

Some encores fail to impress, but Rodrigo’s was a spectacular finale. Just after 10:30 p.m., she concluded her performance with “deja vu,” seemingly wrapping up the night until a stunning visual of her elegantly seated in a white slip dress appeared on the big screen, engulfed in digital flames.

By 10:37 p.m., Rodrigo returned to the stage, brandishing a red megaphone and sporting her only outfit change of the evening: a trendy red and white cropped baseball tee that proclaimed “New York City Never Looked So Blue.”

The encore songs were just as exhilarating, featuring “brutal,” “all-american b—h,” “good 4 u,” and “get him back!”

With Conan Gray having performed just an hour earlier, Rodrigo took a moment during her set to pay tribute to her close friend and fellow musician.

“I adore him so much; he’s my best friend,” she enthusiastically declared to the crowd before launching into “enough for you,” a track from SOUR that she revealed is her “favorite song she’s ever written.”

Gray delivered a captivating mainstage performance, complete with props and a costume reflecting the nautical theme of his upcoming album Wishbone, for which he recently released the first single, “This Song.”

“Have you all listened to his new song yet?” Rodrigo asked the audience, who erupted with cheers. “That’s the right answer. I love him dearly, and I love making music.”

During her performance of “all-american b—h,” it became a GUTS tour tradition for Rodrigo to lead her fans in a cathartic group scream, and this tradition continued for her Gov Ball set.

“There is so much to be frustrated about in today’s world,” she expressed ahead of the song’s bridge. “When I say ‘go,’ I want you to scream as loud as possible and let it all out. Okay? I want them to hear us in f—ing Manhattan.” Though the festival was situated in Queens, N.Y., her sentiment resonated deeply with the crowd.

Channeling the frustrations of the day’s delays, rain, mud, and humidity, the audience followed her lead. When Rodrigo prompted the screams with the first line of the bridge and shouted “go,” the stage was engulfed in darkness, and for a solid 10 seconds, the air was filled with visceral screams. This moment was not only powerful but also a true instance of collective release.

Encore