There are nights when you walk into a concert expecting greatness, and then there are nights that completely redefine what a live show can be. Chappell Roan’s headlining performance at Forest Hills Stadium was one of those nights—a shimmering, emotional, gothic-pop spectacle that felt like both a celebration of self-expression and a declaration of artistic power. It wasn’t just a concert. It was theater. It was drag. It was a love letter to misfits, dreamers, and anyone who has ever dared to be different.
Even before Chappell set foot on stage, the night had a sense of magic. The opener, Japanese Breakfast, set the tone with a gorgeous, atmospheric set that wrapped the audience in a warm, ethereal glow. Michelle Zauner emerged in a flowing iridescent dress that caught every shifting light, her presence graceful but commanding. They opened with “Paprika,” the song’s buoyant horns and shimmering percussion filling the historic stadium as the last sliver of daylight disappeared.
Japanese Breakfast has always been a band that marries lush textures with deeply personal songwriting, and this set was a master class in that balance. “Be Sweet” got the crowd dancing early, a gleaming slice of indie pop that turned the massive venue into one giant groove. Michelle’s voice floated effortlessly over the intricate arrangements of “Slide Tackle” and “Road Head,” each song shimmering like a dream you don’t want to wake from. The standout, though, was “Posing for Cars.” As the slow-build guitar solo stretched toward the heavens, Michelle closed her eyes and leaned into the mic, her voice trembling with emotion. The stadium went quiet in awe before erupting in cheers. By the time they closed with the effervescent “Everybody Wants to Love You,” the audience—many of whom had come primarily for Chappell—were fully converted, singing and swaying like longtime fans.
But the dreamy haze of Japanese Breakfast’s set was just the calm before the storm. When the house lights dropped and the first pulsing beats of “Super Graphic Ultra Modern Girl” thundered through the speakers, the entire stadium seemed to hold its breath. And then she appeared.
Chappell Roan emerged like a gothic pop phoenix, wearing a black-and-crimson ensemble that looked as if Lady Gaga had wandered into a Tim Burton fever dream. Her makeup was theatrical—glittering black eyeliner, blood-red lips—and her hair swept up into a crown of dark roses. Behind her, the stage was a towering cathedral of neon crosses, glowing arches, and shadowy projections of swirling galaxies. It was part gothic nightclub, part otherworldly chapel, and entirely her own universe.
The opening moments of “Super Graphic Ultra Modern Girl” felt like a statement of intent. Chappell strutted to the mic with fearless confidence, her voice soaring over the pounding synths as smoke cannons exploded in time with the beat. The crowd—already hyped from the opener—erupted into pure chaos, dancing, shouting, and waving homemade signs covered in glitter and rhinestones.
Without missing a beat, she launched into “Femininomenon,” a sly, self-aware anthem of power and self-celebration. Strobe lights flashed in deep reds and purples, casting eerie shadows that gave the performance a deliciously gothic edge. The choreography was sharp, full of dramatic flourishes and quick turns that felt halfway between a drag performance and a high-fashion runway show. Chappell owned every inch of the massive stage, moving with the kind of precision that comes only from total commitment.
The energy only escalated with “After Midnight,” its dark bassline rattling the wooden bleachers as lasers cut through plumes of fog. It felt like being inside a late-night dance club in some futuristic cathedral. Then came “Naked in Manhattan,” a playful but emotional singalong that turned the entire stadium into a glittering chorus. Chappell leaned into the front row, grinning as fans screamed every word, the joy on her face a perfect counterpoint to the song’s cheeky lyrics.
One of the early highlights was “Guilty Pleasure,” which Chappell introduced with a mischievous smirk and a quip about “owning your chaos.” The song unfolded like a cabaret confession, her smoky vocals dancing over pulsing beats as black and red lights flickered across the crowd. “Casual” followed, giving everyone a moment to breathe. With the stage bathed in deep blue, Chappell’s voice took center stage—rich, warm, and heartbreakingly intimate.
The set’s middle section leaned hard into theatrical storytelling, and it was here that her stage design truly shone. Massive video screens behind her projected kaleidoscopic visuals—shattered stained glass, gothic cathedrals dissolving into starfields, roses bleeding into ink—as she delivered one emotional gut punch after another. “The Subway” hit especially hard for the New York crowd. Before starting, she gave a heartfelt shoutout to “all the dreamers riding late-night trains chasing something bigger,” and the audience roared in recognition. The performance captured the restless, hopeful energy of the city, her voice echoing like a prayer across the stadium.
Then came a full-on explosion of camp with “HOT TO GO!”—a high-energy dance track that sent the audience into absolute frenzy. The lighting rig went wild, lasers and strobes firing in dizzying patterns as Chappell led the crowd in a choreographed dance routine that felt like a giant queer nightclub spilling across the stadium. Fans jumped, twirled, and screamed, the gothic visuals adding a deliciously dark contrast to the song’s glittery exuberance.
And then the night shifted into legend. As the unmistakable opening riff of “Barracuda” slashed through the air, a collective gasp swept the venue. From the shadows emerged Nancy Wilson of Heart, guitar in hand, wearing a knowing smile that could level a city block. The roar from the crowd was deafening. Watching Nancy stride onto the stage—rock royalty in the flesh—was goosebump-inducing enough, but the real magic was in the chemistry that followed.
Nancy’s guitar snarled and screamed, her fingers flying across the fretboard with the same fire she’s carried for decades. Chappell, dressed like a gothic rock queen, matched her power note for note, her vocals soaring with Ann Wilson–level ferocity. When they hit the chorus together—Nancy’s guitar blazing, Chappell belting like her life depended on it—it felt like a cosmic passing of the torch. The gothic cathedral stage suddenly transformed into a rock-and-roll altar, two generations of fearless women standing side by side in defiance and joy.
After that once-in-a-lifetime moment, Chappell brought the mood back down with a breathtaking rendition of “Picture You.” The lighting softened into hues of violet and silver, and for a few minutes, the spectacle gave way to pure intimacy. Her voice carried every ounce of longing and vulnerability in the lyrics, echoing across the quiet stadium. “Love Me Anyway” followed, a heartfelt plea for acceptance that had fans holding their phones high, tiny lights flickering like stars.
But Chappell knows how to rebuild momentum, and the final stretch of the set was a masterclass in pacing. “The Giver” pulsed with an irresistible groove that got the crowd swaying again, while “Red Wine Supernova” exploded with cosmic energy, the stage awash in swirling galaxies and shimmering reds. “Coffee” brought a flirty, smoky vibe, Chappell teasing the audience with sly asides that drew screams of delight.
The arrival of “Good Luck, Babe!” was greeted like the second coming. From the first shimmering note, the stadium erupted in a singalong that nearly drowned out the band. Chappell stepped back and let the audience take the final chorus, a look of pure awe and gratitude spreading across her face as thousands of voices carried the song skyward.
After a brief pause, she returned for an encore that somehow managed to top everything that came before. “My Kink Is Karma” opened with deliciously dramatic flair, Chappell strutting like a gothic dominatrix as red lights strobed wildly around her. “California” followed, a glittering anthem of escape and reinvention that had the entire stadium waving their arms like a glowing ocean.
And then came the finale: “Pink Pony Club.” If you’ve never seen this song live, words barely suffice. The stage transformed into a pink neon wonderland, confetti cannons firing in every direction as Chappell led the crowd through one final, euphoric celebration. It was equal parts drag show, queer church, and high-fashion runway, the gothic visuals blending with pure joy until the whole venue felt like it was floating. I found myself dancing with complete strangers, laughing and shouting the lyrics at the top of my lungs as pink confetti rained down like a blessing.
What makes Chappell Roan so extraordinary is her ability to balance spectacle with sincerity. Her show has all the pageantry of a Lady Gaga production—towering set pieces, wild costume changes, theatrical choreography—but she filters it through a darker, moodier, gothic lens that feels entirely her own. It’s as if Gaga’s Born This Way Ball collided with a haunted cathedral and a downtown drag show. But beneath the glitter and drama is a performer with a crystal-clear artistic vision and a deep, almost spiritual connection to her audience.
The surprise appearance by Nancy Wilson during “Barracuda” underscored that point beautifully. It wasn’t just a cool cameo; it was a moment of lineage. Chappell is stepping into a tradition of fearless women who challenge norms, bend genres, and demand to be heard. And if this Forest Hills show proved anything, it’s that she’s more than ready to carry that torch.
Walking out of the stadium, pink confetti stuck to my shoes and glitter still catching in my hair, I felt that rare post-concert high—the kind where you know you’ve witnessed something transformative. Chappell Roan isn’t just a rising pop star anymore. After a night like this, she’s a fully realized pop powerhouse, a gothic-glam icon in the making, and one of the most electrifying live performers of her generation.
Japanese Breakfast (Opening Set Highlights)
-
Paprika
-
Be Sweet
-
Road Head
-
Slide Tackle
-
Posing for Cars
-
Everybody Wants to Love You
Chappell Roan Setlist
-
Super Graphic Ultra Modern Girl
-
Femininomenon
-
After Midnight
-
Naked in Manhattan
-
Guilty Pleasure
-
Casual
-
The Subway
-
HOT TO GO!
-
Barracuda (Heart cover) – with Nancy Wilson
-
Picture You
-
Love Me Anyway
-
The Giver
-
Red Wine Supernova
-
Coffee
-
Good Luck, Babe!
-
My Kink Is Karma
-
California
-
Pink Pony Club
As I finally made my way toward the subway, the echoes of “Pink Pony Club” still ringing in my ears, I realized I hadn’t just attended a concert—I’d experienced a work of art. Chappell Roan’s Forest Hills show was a glittering, gothic celebration of everything live music can be: outrageous, communal, emotional, and utterly unforgettable.