Every performer will donate her appearance to support women and girls.
IRVINE, United States | June 2026
Olivia Rodrigo has announced Daisy Chain Fields, a new one-day music festival built around an entirely female and female-fronted lineup. The event will take place on August 29 at Great Park in Irvine, California. Rodrigo said all participating artists will perform without receiving a fee, allowing 100 percent of the festival’s net proceeds to support charitable organizations working with women and girls. The project combines a major pop event with a deliberate social mission.
Rodrigo will headline the inaugural edition alongside a cross-generational group of artists that includes Chappell Roan, Doechii, Mitski, KATSEYE, Bikini Kill, the Breeders, Garbage, Santigold, Rachel Chinouriri, Die Spitz, Eli, Quiet Light and Not for Radio. Special guests will include Stevie Nicks, Karen O and Sarah McLachlan. The lineup brings together pop, alternative rock, punk, independent music and contemporary R&B. Its range suggests that the festival is intended to create dialogue between different generations of performers and audiences.
The singer described the artists’ willingness to participate without payment as evidence of both their generosity and their commitment to the festival’s purpose. Large music events normally depend on substantial performance fees, particularly when internationally recognized artists are involved. Waiving those payments makes it possible for a larger share of revenue to reach the selected organizations. It also turns the lineup itself into a collective donation.
Daisy Chain Fields draws direct inspiration from Lilith Fair, the influential festival founded by Sarah McLachlan during the 1990s. Lilith Fair created a major touring platform for women at a time when promoters frequently argued that audiences would not support multiple female performers on the same bill. Rodrigo said McLachlan was the first person she contacted when she decided to develop the new festival. Her participation connects the project to an earlier movement that challenged structural assumptions within the music business.
The name reflects Rodrigo’s vision of individual artists becoming part of something larger. She imagined women sitting together beneath a tree, making daisy chains, flower crowns or friendship bracelets. Each flower remains distinct while also becoming one link in a connected structure. That image provides the symbolic foundation for a festival centered on community rather than competition.
The charitable partners represent a broad range of causes affecting women and girls. They include organizations working in reproductive rights, maternal health, domestic violence prevention, economic security, Indigenous health, legal advocacy and support for families. Among them are Baby2Baby, Black Mamas Matter Alliance, the Center for Reproductive Rights, FreeFrom, Jhpiego, the Johns Hopkins Center for Indigenous Health, the National Domestic Workers Alliance, the National Institute for Reproductive Health, the National Women’s Law Center and Planned Parenthood. The variety reflects an effort to address both immediate needs and wider structural inequalities.
The event will extend beyond concerts on its two stages. Organizers plan to include nonprofit activities, educational resources, community art, local vendors, fan experiences and immersive installations. Attendees will be able to learn about the participating organizations and the issues they address. The objective is to make charitable engagement part of the festival experience rather than a separate element mentioned only during promotion.
Rodrigo has said she believes joy, music and community can become instruments for meaningful change. That philosophy places celebration and activism within the same space. The festival does not present social commitment as something opposed to entertainment. Instead, it uses the emotional energy of live music to create attention, funding and participation.
The lineup also reflects Rodrigo’s personal musical influences. She has identified Kathleen Hanna of Bikini Kill as one of her heroes, while artists such as Stevie Nicks and Sarah McLachlan represent earlier generations of women who established creative independence within a male-dominated industry. Chappell Roan and Doechii reflect the current generation of performers expanding expectations around identity, genre and stage presence. Bringing them together creates a visible history of women shaping popular music across several decades.
A possible collaboration between Rodrigo and Nicks has already generated interest. During an interview, Rodrigo did not rule out performing “Landslide” with the Fleetwood Mac singer, although she avoided confirming specific plans. Such a duet would become one of the festival’s most anticipated moments. It would also reinforce the event’s emphasis on artistic continuity between established icons and younger performers.
Daisy Chain Fields arrives as Rodrigo enters another major phase of her career. Her third studio album, You Seem Pretty Sad for a Girl So in Love, debuted at number one on the Billboard 200. The release generated the strongest opening figures of her career and continued her record of placing each of her first three albums at the top of the chart. She is also preparing the international Unraveled tour, scheduled to begin in September.
The festival therefore represents more than a promotional extension of a successful album. Rodrigo has described it as a project she had wanted to create for years. Its timing gives her the commercial influence required to assemble an unusually ambitious lineup and direct attention toward organizations that may not normally receive such a large entertainment platform. Her current popularity makes the charitable model financially significant.
Women have become many of the most commercially powerful artists in global music, but festival lineups and senior industry positions do not always reflect that success proportionately. Daisy Chain Fields addresses that imbalance by placing women in every visible performance position. It does not exclude audiences according to gender, but it centers artists whose work has often been judged through narrower expectations. The festival turns representation into its operating structure rather than a limited promotional theme.
Its long-term importance will depend partly on whether it becomes a recurring event. A successful first edition could establish Daisy Chain Fields as a continuing platform for music, charitable fundraising and collaboration. It could also encourage other artists and promoters to experiment with models in which social impact is incorporated into the financial design of major events. For now, Rodrigo has created a single-day festival with ambitions extending far beyond one concert.
The project’s strongest statement lies in the artists’ collective decision to perform for a shared cause. Their participation transforms fame, talent and audience demand into practical support for women and girls. Daisy Chain Fields will celebrate individual careers while insisting that those careers can contribute to a larger community. Its success will be measured not only by attendance, but by the resources and attention it generates after the final performance.
Music creates lasting change when success becomes shared purpose. / La música crea un cambio duradero cuando el éxito se convierte en un propósito compartido.