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Buy tickets for concert Oklou - 14.02.2026., Adelaide Showground, Adelaide, Australia Buy tickets for concert Oklou - 14.02.2026., Adelaide Showground, Adelaide, Australia

CONCERT

Oklou

Adelaide Showground, Adelaide, AU
14. February 2026. 12:00h
2026
14
February
Photo by: Domagoj Skledar/ arhiva (vlastita)
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Tickets for Oklou at Laneway Festival Adelaide, live at Adelaide Showground in Adelaide, one-day pass

This page is for ticket sales for Oklou at Laneway Festival Adelaide at Adelaide Showground in Adelaide. The set starts at 12:00 on February 14, 2026, and the ticket is valid for one day. Buy tickets early, plan your arrival, and enjoy the full festival-day atmosphere before and after the performance
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Oklou in Adelaide as part of the Laneway festival

On February 14th, Adelaide gets a concert moment that will attract fans of contemporary pop electronics and curious minds who love discovering performers before they become a commonplace on festival posters, because Oklou is performing at the Adelaide Showground in the city of Adelaide. The slot is set for 14.02.2026 at 12:00, and the ticket is valid for 1 day, which turns this gig into an all-day outing with plenty of room for planning and spontaneous detours to other stages. Oklou is a name that has been mentioned more and more frequently over the past year alongside a new generation of female producers and authors who combine club energy, melodic sensitivity, and detailed sound that is best experienced live, in a crowd and among the bass. In the context of such a performance, ticket sales and audience interest usually grow as the day of the event approaches, so it pays to sort out the ticket purchase on time and have an arrival plan. Secure your tickets for this event immediately and prepare for a day where you will easily switch between a relaxed daytime atmosphere and the intensity of festival production.

This concert is in practice a festival performance, as Oklou appears on the program of Laneway Festival Adelaide 2026, an event that in Australia and New Zealand traditionally builds its line-up at the intersection of pop, indie, alternative electronics, and artists shaping the sound of today. The official list of performers for the Adelaide edition also includes names that have become major festival magnets in recent seasons, such as Chappell Roan, PinkPantheress, Wolf Alice, Wet Leg, Lucy Dacus, Alex G, Cavetown, Mt. Joy, Yung Lean and Bladee, Role Model and others, so tickets for this event for many are not just tied to one gig but to the complete daily program. This is precisely why tickets are often bought by those who come for the headliners, but want to take the opportunity to catch performances along the way that are later retold as the hidden highlights of the day. If you are focused on Oklou, it is good to approach the day as a story with several chapters, because the schedule and audience dynamics will change the energy of the space from noon onwards. Tickets for such a festival quickly become sought after as travel and accommodation plans fill up, so buying tickets in advance facilitates both logistics and mood.

The musical signature of an artist who blurs genre boundaries

Oklou is the stage name of French producer, vocalist, and author Marylou Mayniel, who built part of her career between her French upbringing and the London scene, and in her music, she combines classical discipline and the internet curiosity that has marked an entire generation of new pop authors. Her story is often linked to a classical musical background, instruments, and work on details, but also to the need to convey emotion through contemporary textures, from ambient layers to rhythms reminiscent of the club. Such an approach explains why Oklou is mentioned in the same breath as both a producer and a performer who uses the vocal as an instrument, sometimes clear and direct, and sometimes almost as part of a synthetic landscape. In a festival setting, this means that the performance does not rest only on songs but on atmosphere, and the audience very quickly feels when the performer controls the space and dynamics. If you are wondering whether this aesthetic will translate to the big stage, the answer is usually found in the first few minutes, because Oklou builds tension layer by layer and then releases it in choruses and transitions. Tickets for this event are therefore not just a ticket for one gig, but an entry into a world that is read differently live than on headphones.
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The center of current interest in Oklou is her album choke enough, which attracted the attention of relevant music media precisely because of the way it combines pop melodies, futuristic production, and the feeling that everything is happening in a foggy, nocturnal space between a dream and the club. In descriptions of her sound, the collaborative circle is often highlighted, including names from the world of progressive pop production, and this background is heard in fine details, in the choice of synth colors, in the way the bass carries the song, and in how the vocal appears as a guide rather than a classic front. On the Laneway stage, the audience can expect a set that relies on recognizable songs and moments that are intimate in studio versions, but live become physical, because the rhythm and depth of sound are felt through the PA and the mass. This is exactly why many buy tickets not just for the big names, but for performers whose production gains most in a large audio system, where small effects become part of a shared experience. If you are already planning to buy tickets, it makes sense to think about your position in the audience, because with such an artist, the difference between the peripheral zones and the center of the gathering is often the difference between pleasant listening and total immersion. In that sense, tickets for this event also become a ticket for your own direction of the experience, depending on whether you want to dance, observe, or catch details.

The performance at 12:00 also brings a special nuance, because the daytime slot changes the way the audience enters the music and how emotional peaks are read, and Oklou is a performer for whom such a contrast can work in her favor. Instead of classic club darkness, here you have a more open festival atmosphere in which the audience's attention must be won without relying on nocturnal dramaturgy, so the set must be precise, rhythmically convincing, and seductive enough to keep the focus amidst the color of the entire program. In this discipline, Oklou often uses building, introducing motifs in layers, and then creating a moment of collective release through a drop or chorus, which in a noon slot can become an ideal trigger for the rest of the day. The audience that buys tickets with the intention of starting the day precisely with this concert usually gets the feeling that they caught the first chapter of the story, because after that, everything falls into place more easily, from visiting other stages to food breaks and returning to favorite performers. If you want to make the most of this performance, it is a good move to arrive earlier and enter the space without rushing, as festival controls and crowds can eat up part of the time, especially when ticket sales are strong and when a large number of people aim for the same entry wave. Buy tickets via the

button below and plan your arrival so that the first tones do not pass you by while walking.
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Adelaide Showground as a grand stage and urban meeting point

The Adelaide Showground in Wayville is not just another festival ground, but one of the key city spaces for large events, fairs, and mass gatherings, located just a few minutes from the center of Adelaide and relatively close to the airport, which makes logistics simpler for both visitors and production. The complex is designed as a multi-purpose space with large areas and infrastructure that handles crowds, stages, food zones, and accompanying facilities, so the impression often changes from event to event, but the foundation remains the same, which is the feeling that you are in a space accustomed to large numbers. On a festival day, this means that the audience can move through different sections, chase better sound, look for shade and a break, and then return to the heart of the event when it is time for the performer you have marked as a must. When it comes to tickets, such a location usually increases demand because people have confidence in the organization of the space and transport connectivity, which is important if you are coming from out of town or visiting Adelaide for the first time. The address most commonly cited in official information is Adelaide Showground, Goodwood Road, Wayville, SA 5034, so it is easier to plan navigation and agree on a meeting place with friends. In practice, passes and tickets for this event often turn into an all-day ticket for a city excursion, because the Showground stands on the edge of the center and allows you to catch Adelaide outside the festival fence before or after the program.

The historical weight of this place is felt even outside of major music days, as the Adelaide Showground has for decades served as a home to events that are part of South Australia's identity, especially through the tradition of the Royal Adelaide Show and the broader context of the activities of the Royal Agricultural and Horticultural Society of South Australia. When a space hosts events for years that bring together families, producers, exhibitors, and entire communities, it gains that special kind of urban memory that is felt in the way people talk about the location, how to get there, where to wait, and where to celebrate. For a concert day, this is an important background, because the audience often arrives with a feeling that they are entering a place where something is always happening, and this raises the level of expectation and encourages people to take the purchase of tickets seriously, as a plan rather than a coincidence. In this sense, Oklou's performance gets an extra layer, because modern, digitally-tinged pop collides with a space that has historically been a stage for very different events, from exhibitions to large city gatherings. The audience coming to the Showground for the first time is often surprised by how urban the location actually is, because Wayville is not a distant suburb but part of the inner belt with good connections to the center. If you are the type who likes to arrive early, walk around the neighborhood and catch the feel of the place, that approach pays off, and the tickets are then peace in your pocket, without stress and later improvisations.

For music events, it is particularly important how the space fills and empties, where the bottlenecks are, what the flow between stages looks like, and how much time it takes to get from one point to another, and the Adelaide Showground, due to its purpose and infrastructure, mostly facilitates that part of the experience. In practice, this means that you will be able to combine concert focus and festival curiosity, without feeling like you are in a logistical battle the whole time, which is especially important with one-day tickets, as you want the maximum experience in a limited time. Oklou as an artist whose sound relies on fine details also requires a good position, so it is smart to arrive early enough to find a zone where the PA and the audience suit you, especially if you like to hear the layers and small changes in production. Keep in mind that the festival atmosphere changes hour by hour, so it is completely normal for the audience to gather tightly at one moment and then thin out in the next as people leave for food, drink, or another stage. Tickets for this event are therefore also a ticket for movement, exploration, and return, and the best experience often arises when you do not try to control everything, but leave room for the program to pull you in. If you are going in a group, agree on a simple meeting place and a way of communication, because in large crowds and with a loud PA, plan B saves nerves and preserves energy for the music.
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How to get there, when to leave, and what a daily ticket means

Getting to the Adelaide Showground is particularly practical by public transport, which the organizers of the location highlight themselves through instructions for tram, bus, and other options, and this is important information when ticket sales are strong and when a large number of visitors are expected. One of the simplest routes is the Glenelg tram line, which goes from the city towards Goodwood Road Station, Stop 3, and from there it is a short walk to the Showground, which is useful if you want to avoid looking for parking and congestion on the approaches. If you are coming from the center, count on the fact that on a festival day the rhythm of the city changes and it is smart to start earlier, because entries, checks, and the first orientation in the space take more time than it seems on paper. Since the ticket is valid for 1 day, the point is to arrive early enough to feel how the atmosphere builds and not to enter only when your most important performance has already started, especially when Oklou's slot is set for 12:00. Passes and tickets in such a format work best when you add a little time for a break, because an all-day program requires rhythm, water, food, and occasional withdrawal from the crowd to last until the evening. Tickets for this concert disappear quickly, so buy tickets on time and synchronize your arrival with the real travel time through the city.

February in Adelaide often means summer in the full sense of the word, so for an all-day event, it is important to think about the sun, heat, and energy, even if you are primarily interested in music and do not want weather conditions to dictate your mood. The best experience is usually had by those who come prepared, with basic things that make staying outdoors easier, along with a plan to occasionally retreat to the shade or a quieter part of the space, and then return to the stage when the performer you want to see arrives. In a festival context, tickets are worth as much as you get out of them, so it is smart to behave as if a marathon awaits you, not a sprint, because after a few hours everything is felt, from standing to dehydration. If you came for Oklou, the daytime slot can be perfect for focused listening and catching details, because the body is not yet tired and the head is open to new sounds, so often such performances remain as the purest experience of the day. At the same time, ticket sales and the structure of a one-day ticket mean that the audience will constantly arrive in waves, so it is normal for crowds to form at the entrances and in the food zones, which again brings back the importance of an early arrival and smart break scheduling. If you want to play it safe, buying tickets in advance and arriving earlier gives you more freedom, less nervousness, and more space to experience the music without interruption.

The performance schedule and potential overlaps are always part of the festival game, and Laneway as a rule offers a line-up strong enough that at some point you will have to choose between two things you want to see equally. On such days, it is good to have a basic plan, but also to accept that part of the charm is that a discovery takes you in an unforeseen direction, so sometimes it is exactly then that you stumble upon an artist who becomes your new obsession. If Oklou is your priority, consider building the rest of the day around that slot, with a break before and after, so you can meet the performance fresh and be in the zone where the sound fits you best. A one-day ticket gives you the right to make your own route, and tickets for this event in that sense are not just a passage through the entrance, but also permission to skip part of the program without guilt and return when you feel the time is right. The audience often underestimates how important it is to eat and drink at regular intervals, so by the evening they are left without energy and miss the best moments, which is a shame when you have already invested in tickets and when the whole day is packed with content. If you stick to simple logic—water, food, a short rest, and returning to the stage—you will get the maximum effect from the ticket and keep the focus on the music, not on exhaustion.
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Adelaide as a festival city and the context in which the performance gains extra weight

For years, Adelaide has positioned itself as a city of festivals, with a dense cultural season and an audience habit of changing roles throughout the year, from concert and theater visitors to participants in street events and large manifestations, which creates fertile ground for events like Laneway. When a city has a calendar that constantly keeps it awake, the audience becomes more demanding and open, which is an ideal combination for performers like Oklou, because her music demands attention but is also rhythmic enough to fit into the festival fervor. The Showground as a location further emphasizes this identity, as it is located in a place where urban everyday life and mass events meet without a major transition, so the day easily turns into a combination of a concert, an outing, and exploring the city. In this context, tickets for this event are often bought by those coming from other parts of Australia or from abroad, because the one-day festival format links well with travel, accommodation, and getting to know Adelaide. If you want your day to remain pleasant from the first to the last performance, think of the ticket as a ticket for tempo, because an all-day stay requires a little discipline, but in return gives a series of experiences that are difficult to repeat in a classic club concert. Secure your tickets for this event immediately and click the

button when it becomes available, so you can enter without stress a day that is experienced in Adelaide as a true city ritual.

Sources:
- Laneway Festival - official artist list for the Adelaide edition and festival context
- Oklou - official page with performance dates, including Laneway Festival Adelaide
- Adelaide Showground - official instructions for arrival by public transport and basic location information
- South Australia tourism portal - address and description of Adelaide Showground as an attraction and event location
- Royal Adelaide Show - historical context of the Showground and RAHS activities
- Pitchfork - texts about the tour and reviews describing Oklou and her current work
- True Panther Records - biographical profile of Oklou and description of artistic approach
- Festival City Adelaide - context of Adelaide as a city of festivals and cultural calendar
- Interview Magazine - interview with Oklou about musical approach and authorial perspective

Everything you need to know about tickets for concert Oklou

+ Where to find tickets for concert Oklou?

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

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+ 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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12 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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