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Buy tickets for concert Oklou - 13.02.2026., Flemington Racecourse, Flemington, Australia Buy tickets for concert Oklou - 13.02.2026., Flemington Racecourse, Flemington, Australia

CONCERT

Oklou

Flemington Racecourse, Flemington, AU
13. February 2026. 12:00h
2026
13
February
Photo by: Domagoj Skledar/ arhiva (vlastita)
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Tickets and passes for Oklou in Melbourne - One-day concert at Flemington Racecourse, Flemington (Australia)

Get tickets for Oklou at Flemington Racecourse in Melbourne (Flemington) and plan a one-day concert experience on February 13, 2026 at 12:00. This page focuses on ticket sales and an easy purchase of passes, with key notes on venue entry, getting there, and how to catch the set without last-minute rush
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Melbourne in February lives in the rhythm of summer evenings and major open-air productions, and this season Oklou, a French producer and vocalist whose aesthetic has emerged in recent years as one of the most interesting on the border of electronics and intimate pop, comes into focus. Her concert takes place at Flemington Racecourse in the suburb of Flemington, at 448 Epsom Rd, on Friday, 13.02.2026 at 12:00, with a ticket valid for 1 day. This is a time slot that suits the festival's daytime pulse, when the audience is just warming up, and the space gradually fills and turns into a large city meeting of music and summer. That is exactly why interest in tickets can grow quickly, as many want to secure the best spot for performers who best convey production details and atmosphere live. Ticket sales are available, and if you plan to come, it is practical to purchase tickets earlier and avoid the stress of the last days. Secure your tickets for this event immediately and click the button labeled

when it is displayed below, because tickets for performances like this tend to go before the schedule on the day of the event is fully settled.

Oklou and the story of music built from details

Oklou, the stage name of Marylou Mayniel, comes from France, and she built her career through a combination of a classical musical background and digital production that relies on emotion, texture, and the space between genres. Her path is often described as a transition from early, experimental releases to a more mature language of songs where whisper, bass, and tiny sounds that usually remain hidden in the background are equally important. In a more recent phase of her work, she emphasizes co-author and co-production collaborations, with names from the contemporary electronic and art pop scene often mentioned, and this circle is also responsible for the recognizable sound aesthetic that is simultaneously soft and precise. Critics often highlighted her 2025 album as an example of how a club idea can be translated into a pop format without losing mystery, which stands out especially live through the dynamics and control of intensity. For the audience that buys tickets for the feeling that they will get more than a standard performance, Oklou is the type of performer who builds a concert as a narrative, not as a mere sequence of songs. That is why tickets for such a set are often sought even among those who do not usually follow hyperpop or experimental electronics, because the performance offers a clear emotional arc and a visual-sound experience that is remembered.
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Sound between ambient, club, and pop melody

Oklou's signature is recognized by the way she combines ethereal vocals with rhythms that sometimes seem to come from trance, sometimes from the minimalist club school, and sometimes from ambient music that is felt more than heard. In her songs, the building of space is important, that is, the feeling that the listener is moving through layers, so even on large stages, her performance can seem intimate, as if it is happening in the dim light of a club or in a room with good speakers. This contrast works well in a festival setting, because the daytime slot can enhance the impression of a misty, dreamy aesthetic, while the stronger parts of the set lift the audience and physically introduce them to the rhythm. Fans of details especially appreciate her production precision, from the shaping of the bass to the tiny percussions that appear as signals, and a wider range of dynamics is often heard live than on recordings. If you are buying tickets for the sound quality and atmosphere, Oklou is exactly the performer for whom it is worth arriving earlier, catching a good position, and giving yourself time for the set to settle. Tickets for this concert disappear quickly at moments when the schedule is confirmed and when the audience realizes they are getting a performance that is not just a side festival item, but a concert highlight of the day.

Laneway as a frame: how Oklou fits into the broader picture of the day

Although Oklou is highlighted here as a performer, the context of the event indicates that the performance is taking place as part of a broader festival program at Flemington Racecourse, which can also be seen by how Laneway Festival Melbourne is mentioned in announcements and supporting materials. Laneway has built a reputation in Australia and New Zealand as a festival that captures the moment, connects global pop phenomena, indie rock, and new electronics, while often introducing the audience to performers who are about to explode. For the year 2026, several media outlets emphasized the 21st edition and the idea that the festival also carries the symbolism of coming of age, with a line-up covering a wide spectrum of the contemporary scene, from pop headliners to performers coming from the alternative and club milieu. In such a mix, Oklou has a logical place, because her aesthetic sits between pop structure and experimental production, which links well with the audience that comes to Laneway to discover new sounds. For visitors, this means that tickets are not just entry to one concert, but to an all-day program where you can assemble your own schedule and move between stages. Because of this, ticket sales often behave differently than for club concerts, because part of the audience buys tickets for one performer, and part for the whole day, so demand comes in waves and tends to accelerate as the date approaches.

What to expect from an Oklou set in a festival rhythm

In a festival setting, Oklou's performance typically takes a somewhat more compact form, but retains the key element, which is the feeling that songs turn into one long atmosphere with changes in tempo and mood. The audience in an open space like Flemington Racecourse often looks for performers who can fill the large air and great width, and Oklou does this smartly, not going for raw loudness, but for layering and clear dramaturgy. This is especially important in the daytime slot, when the sun and open space can eat up some of the intimacy, so the emphasis shifts to the clarity of mixing and the visual presentation that helps the feeling carry to the back rows. If you are coming primarily for her, it is good to plan the day so that you arrive early enough, take time for entry, orient yourself in the space, and choose a position that suits you, because such sets work best when you don't push in at the last minute. Buying tickets in advance is a practical solution here, because it reduces uncertainty and allows the focus to shift to the music, not the logistics. Buy tickets via the button below as soon as it is active, especially if you are aiming for a good part of the day and want to follow other performances along with Oklou without rushing.
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Flemington Racecourse: from racing to major music productions

Flemington Racecourse is one of the most famous places in Melbourne, primarily as the home of the Melbourne Cup and major equestrian events, but in recent years it has increasingly functioned as a major concert location due to its capacity and infrastructure. The space is historically important and old, with data showing it has been used as a racecourse since the 19th century, and modern Melbourne also perceives it as a symbol of the city, a place of mass gatherings and major manifestations. For music events, this means getting a location with huge open areas, stands, and clear entry points, which facilitates organization when thousands of people are expected. In location information, a capacity of around 120,000 is often cited, and recognizable elements such as wide lawns and rose gardens that are part of Flemington's identity are also emphasized. The address 448 Epsom Rd, Flemington VIC 3031, is important for planning arrival and navigation, especially for visitors who are not from Melbourne and rely on public transport or taxis. In such a space, the concert gains an additional dimension, because the experience is more like a city event than a club outing, and tickets thereby become a key part of planning, because without timely purchase, you can easily be left without the option that suits you best.

City compromise: noise, neighborhood, and culture of behavior at the event

When music events are held at a place that is simultaneously a sports and equestrian location, it is natural that questions occasionally arise about the impact of large concerts on the environment, animals, and the neighborhood. In the Australian media, there has already been discussion about how frequent loud events can affect the horses located in nearby stables, with statements from workers and reactions from institutions, while organizers emphasized monitoring measures and compliance with rules. For visitors, this is not a reason to avoid the event, but a reminder that it is a complex space that requires responsible behavior, respect for movement zones and staff instructions, and an awareness that a series of processes take place behind the scenes to ensure everything goes safely. Such a context further emphasizes why large productions at Flemington are logistically demanding and why tickets are treated as entry into a controlled system, and not just as a ticket for music. In practice, this means arriving earlier, following the signage, not wandering into prohibited areas, and having patience when exiting, because it is crowds that create the most problems for both the audience and the organization. When you are already planning the purchase of tickets and arrival, it is worth counting on the fact that the best experience is one where the audience moves smartly and where the energy of the concert does not spill over into chaos, because then both the performer and the visitors get the maximum.

How to set up a festival day when Oklou is the main goal

If Oklou is your priority, the best strategy is to treat the day as a whole and set up a rough plan in advance, because open-air locations like Flemington Racecourse require a bit more preparation than club concerts. The daytime slot at 12:00 often means that a wave of visitors who want to catch early performances forms at the entrances, so it is useful to arrive earlier, pass security checks, and orient yourself in peace, instead of running towards the stage at the last minute. Since the ticket is valid for 1 day, it is logical to take the opportunity and get to know other performers, but at the same time leave enough time to return to the spot you want for Oklou, especially if you expect a crowd. For events like this, it is always smart to bring basic things for a summer day, such as water and sun protection, and count on the fact that you will be moving across a large area, which affects energy and mood during the performance. That is exactly why many buy tickets with the idea that they want it without stress, and stress most often happens when arrival and entry are left for the last moment. Secure your tickets for this event immediately and then plan your arrival as part of the experience, and not as an obstacle, because that way the music finds its place in the story of the day.
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Outdoor atmosphere and small rules that make a big difference

Open spaces create a special atmosphere, but also require a slightly different approach to listening, because wind, distance, and audience density can change the sound experience, especially with a performer who works with finesses such as Oklou. Therefore, it is useful to choose a position that gives you a good view and sufficiently clear sound, and not necessarily push into the front rows if that means you will spend the whole set in uncomfortable pressure. In festival culture, the rule increasingly applies that the best experience is one where the audience looks out for each other, leaves a passage, does not push, and does not create unnecessary incidents, because this preserves the space for both dancing and calmer listening. In this sense, tickets are also a kind of contract between the audience and the event, because by purchasing a ticket you enter into the rules of the space, safety, and common culture of behavior. If you are going in a group, agree on a meeting point and a basic plan, because large locations can be confusing, and the mobile signal sometimes varies when a lot of people gather. Tickets for a concert like this are often bought for the feeling of belonging to a scene that appreciates detail, so it is logical to behave in a way that this detail remains visible, both in sound and in atmosphere.

Getting to Flemington and moving around the city

To arrive at Flemington Racecourse, the most important thing is to count on it being a large location in the wider urban area, a few kilometers northwest of central Melbourne, so the decision on transport immediately reflects on the experience of the day. According to information from the Victoria Racing Club, one of the practical options is to take the train to Newmarket station on the Craigieburn line, and then walk for about 10 minutes or transfer to a tram on route 57 towards Flemington. Route 57 is particularly relevant because it passes through the city and stops near Flemington Racecourse, so it is a good choice for visitors staying in the center who want a simple, linear path without parking complications. If you are coming by car, at events of this type, you should count on traffic regulation and that parking availability depends on conditions, so public transport is often a calmer variant, especially on days when the crowd is largest. The visitor portal of the state of Victoria describes Flemington as a place that is not only a sports location but also a destination for music festivals and events, which means the city has experience with a large influx of people and that you will find clear instructions and signage on the spot. When you are already planning the purchase of tickets, it makes sense to also plan your arrival immediately, because you save the most time precisely in traffic, and that extra energy is later felt in the crowd in front of the stage.

Melbourne as a backdrop: what to do before and after the concert

The great advantage of events like this is that they are not limited to just a few hours of music, but to a whole day in a city that offers a lot of content in February, from walks along the river to neighborhood cafes and later night programs. Flemington and surrounding areas have their own local atmosphere, and the proximity to the center allows you to spend time in the city before arriving at the location and then move towards Epsom Road without too much complication. If you are traveling from outside Melbourne, a good practice is to ensure you have enough time, because open-air events carry more variables, from weather conditions to traffic jams, and it is easiest to enjoy when you don't feel like you are late. In this sense, tickets and passes are not just a formality, but part of a broader plan, because with a confirmed purchase, it is easier to organize accommodation, transport, and the day's schedule. The atmosphere of the city at the time of major festivals often spills over outside the location itself, so festival energy is felt in cafes and public transport, which further enhances the experience that you are part of a larger event. If you want to make the most of the experience, it is practical to also plan the return, because after the program ends, waves of crowds are created, and good organization means you will take home a memory of the music, and not of waiting.
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Broader context: Oklou on the tour path and why this performance is special

Oklou's performance in Melbourne fits into a broader tour and festival schedule that has received increasing attention in recent months, with announcements of performances at major festivals and a series of concerts throughout 2026. Media following the contemporary pop and electronic scene have highlighted her ability to turn a small, personal world into a large concert language, and festivals like Laneway are precisely the places where such a transition becomes visible even to an audience that might come from other genres. For some visitors, this is an opportunity to hear live for the first time a performer they have read about through interviews and album reviews, and for fans, it is a moment when songs from the studio turn into a shared space, where bass and vocals are not just production but a physical feeling. That is why tickets are often bought as entry into a story that is happening now, in real time, while the artist is in a creative momentum and while a new audience is forming around her. Tickets for this concert disappear quickly as soon as serious planning for the festival day begins, so the recommendation boils down to a simple rule: buying tickets on time means more control and a better experience. Buy tickets via the button below, click the button labeled

when it is displayed, and leave yourself space to experience a performance at Flemington that combines summer Melbourne, a large stage, and music that is simultaneously gentle and powerful.

Sources:
- Bandsintown, announcement of the Oklou event at Flemington Racecourse and context of Laneway Festival Melbourne
- ABC triple j, news about the Laneway Festival 2026 line-up and festival framework
- The Guardian, overview of Laneway Festival 2026 and festival history and context
- Pitchfork, profile and interview with Oklou and editorial context of the album and performance
- True Panther, official profile of performer Oklou and biographical facts
- Austadiums, data on Flemington Racecourse, capacity, and history of the location
- Visit Victoria, description of Flemington Racecourse as a destination for sports and music events
- Victoria Racing Club, instructions for arrival and public transport towards Flemington
- Yarra Trams, information on route 57 and connection with Flemington Racecourse
- The Guardian Australia, report on discussions related to the frequency of concerts and the impact of noise on horses at Flemington

Everything you need to know about tickets for concert Oklou

+ Where to find tickets for concert Oklou?

+ How to choose the best seat to enjoy the Oklou concert?

+ When is the best time to buy tickets for the Oklou concert?

+ Can tickets for concert Oklou be delivered electronically?

+ Are tickets for concert Oklou purchased through partners safe?

+ Are there tickets for concert Oklou in family sections?

+ What to do if tickets for concert Oklou are sold out?

+ Can I buy tickets for concert Oklou at the last minute?

+ What information do I need to buy tickets for the Oklou concert?

+ How to find tickets for specific sections at the Oklou concert?

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9 hours ago, Author: Culture & events desk

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Culture & events desk

The editorial team for arts, music and events brings together journalists and volunteers who have spent years living alongside stages, clubs, festivals and all those spaces where art and audience meet. Our writing comes from long-standing journalistic experience and genuine involvement in cultural life: from endless evenings in concert halls, from conversations with musicians before and after performances, from improvised press corners at festivals, from premieres that end with long discussions in theatre corridors, but also from small, intimate events that attract only a handful of curious people yet remain engraved in their memory for a lifetime.

In our newsroom write people who know what a stage looks like when the lights go out, how the audience breathes while waiting for the first note, and what happens behind the curtain while instruments or microphones are still being adjusted. Many of us have spent years standing on stage ourselves, participating in programme organisation, volunteering at festivals or helping artist friends present their projects. This experience from both sides of the stage gives us the ability to view events not merely as items in a calendar, but as living encounters between creators and audiences.

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