Postavke privatnosti

Buy tickets for festival Lollapalooza Chile - 13.03.2026., Parque O'Higgins, Santiago, Chile Buy tickets for festival Lollapalooza Chile - 13.03.2026., Parque O'Higgins, Santiago, Chile

FESTIVAL

Lollapalooza Chile

Parque O'Higgins, Santiago, CL
13. March 2026. 12:00h
2026
13
March
Photo by: Domagoj Skledar/ arhiva (vlastita)
CHECK AVAILABLE TICKETS
BOOK ACCOMMODATION NEARBY

Tickets and passes for Lollapalooza Chile at Parque O'Higgins, Santiago, Chile – 1-day Festival 13 Mar 2026

Buy tickets for Lollapalooza Chile in Santiago’s Parque O'Higgins for the 1-day entry on 13 Mar 2026 (start 12:00). Compare available options, plan your route, and get ready for a city-center festival day with major sets led by Sabrina Carpenter, Deftones and Doechii. Ticket sales are active, so secure your pass early
CHECK AVAILABLE TICKETS
BOOK ACCOMMODATION NEARBY

The festival that brings Parque O'Higgins back to the center of the music season

Lollapalooza Chile is once again taking over the most famous city park in Santiago—an event you experience with your whole body, from the first step onto the grassy areas to the last tones late at night. The festival takes place in Parque O'Higgins, in the very urban fabric of the Chilean capital, and for this post the key moment is the first day’s slot, starting at 12:00, when the festival pulse is expected to kick off and the first big wave of visitors arrives. The ticket is valid for 1 day, which means you can focus on one program segment, one experience, and one carefully chosen day without needing to plan a whole three-day marathon. That’s exactly why one-day tickets carry special weight: they let you catch the Lollapalooza atmosphere at full intensity, but in a format that’s easier to fit into a trip, annual leave, or an extended weekend. Secure your tickets for this event right now!

The festival’s return to the city and why it matters

Lollapalooza’s return to Parque O'Higgins also carries a clear message about the festival’s identity, because this is the location where the Chilean edition grew in its early years and built its reputation as a major urban gathering. Media in Chile emphasize that the festival is coming back to this park after a multi-year period at another location, once again highlighting the connection between the music event and central Santiago, with its neighborhoods, transit hubs, and everyday city dynamics. Such a return means the festival crowd spills beyond the fence—into small restaurants, bars, and public transport—so the experience expands to the whole city rather than staying sealed inside one isolated venue. For the audience, that often means an easier arrival, more mobility options, and a more realistic day plan, especially if you’re coming for just one festival ticket and want to make the most of your time. In practice, interest in tickets in comeback editions like this usually rises, because the audience feels something recognizable is returning, and ticket sales then become part of a wider citywide excitement, not just a technical step before entry.

A one-day ticket as the most precise way to catch Lollapalooza

One-day tickets have their own logic: you choose the day based on performers, your own taste, and the energy you want to experience, and in return you get a concentrated festival experience with no compromise on intensity. For visitors who travel or come specifically for certain headliners, a 1-day ticket is often the best balance of time, budget, and experience, because it allows you to fully commit to one festival story. Published price lists and categories for the festival generally differ by level of amenities and zones, so the audience can choose between basic festival entry and packages with additional content, which is reflected in the ticket price. Chilean reports mention that prices vary by the type of experience and that there are daily and multi-day formats, with the daily general format listed as the reference entry level, while additional categories offer more comfort and special benefits. If you’re aiming for the first day, buying tickets is also a tactical decision, because Friday often carries the atmosphere of the beginning, the first big surge of euphoria, and the feeling that everything is just opening up—which can be just as important as the names on the poster.
CHECK AVAILABLE TICKETS
BOOK ACCOMMODATION NEARBY

The global Lollapalooza story and how it moved to South America

Lollapalooza didn’t start as a classic city festival, but as an idea that from the beginning combined different genres, different audiences, and elements of pop culture into one big, moving stage. The early format, launched in the early nineties, is tied to Perry Farrell and the concept of a tour that brought together alternative music, punk, metal, and hip hop at a time when scenes rarely mixed in the same place. Over the years the concept transformed and, from a traveling caravan, grew into a network of major urban festivals, with expansion into international editions becoming a natural step for a brand that functions as a cultural format, not just a lineup. That’s exactly why Lollapalooza Chile carries weight beyond a local event: it puts global stars, regional favorites, and the domestic scene into the same frame, all within a space that can handle a massive number of visitors. When a festival like that comes to a city, tickets become a kind of pass to an entire mini-universe, where during the day you move from pop choruses to heavy guitars and electronic peaks—all within one ticket and one big park.

The first day of the program and the names that deliver the opening hit

Friday is conceived as the starting line of the whole weekend, and that’s why the first day is traditionally built as a combination of safe favorites and performers who raise adrenaline already from early afternoon. According to the published day-by-day program split, the first day is led by Sabrina Carpenter, Deftones, and Doechii, and alongside them the same day also features names spanning indie, electronic, rock, and regional pop. Such a schedule suggests that in one day you’ll get a broad cross-section of what Lollapalooza means today: pop packed with choruses, rock that bites with riffs, and rap that relies on stage energy, not just studio production. In that context, a day ticket makes sense both for those who want to come specifically for a few strong sets and for those who like to wander between stages and discover new performers in earlier slots. Tickets for this concert are disappearing fast, so buy your tickets in time.

Sabrina Carpenter, Deftones and Doechii as a triangle of different audiences

Sabrina Carpenter enters this lineup as a pop name whose shows rest on precise performance, clear hooks, and an audience that wants to sing along, and she gains extra weight from the fact that in recent reports on music awards she is listed among the winners at the 2025 Grammys. Doechii arrives with the reputation of an artist who blends rap, performance, and theatricality, and her Grammy win for Best Rap Album further cemented the status of a new generation that builds rap on character and stage control, not only on viral moments. Deftones, on the other hand, are an institution of modern alternative metal, with a catalog that defined the sound of heavy emotions and broad guitar layers, and lately they’re back in focus due to the announcement of a new album and a new single, which makes their festival set a meeting with the band’s current phase as well. In the same evening, that creates an interesting cross-section of the crowd: those who come for a pop spectacle, those who want a mosh pit, and those who want rap that isn’t afraid of experiment—all entering on the same tickets and sharing the same space. Buy tickets via the button below.
CHECK AVAILABLE TICKETS
BOOK ACCOMMODATION NEARBY

Parque O'Higgins as a festival stage and an urban symbol

Parque O'Higgins is not just a large green area but also a historic urban space that Santiago uses for mass gatherings, state ceremonies, and major seasonal celebrations, so the festival here gains an additional dimension of urban tradition. According to city heritage data, the park has been mentioned as an important meeting point since the 19th century, and its role in the Fiestas Patrias celebrations is also highlighted, when thousands of people come for fondas and other activities that are deeply rooted in local culture. The park is cited as the largest green area in Santiago, with extensive hectares and a range of features such as large lawns, picnic zones, and spaces that adapt to major events—which is why festival logistics can breathe here. In practice, that means festival stages and accompanying zones can be laid out to ease congestion, enable circulation, and create the feeling that you’re in the city, but still in a space with enough width. The park’s address and position, described as Avenida Viel between Tupper and Rondizzoni, is also useful for planning your arrival, especially if you’re aiming to arrive exactly for the opening of the first day at noon.

Infrastructure around the park and the role of Movistar Arena in major events

Within the immediate complex of the park there is also Movistar Arena, a venue used for sports and cultural events and often serving as a key point for large productions in the city. Santiago’s tourism profile states that it’s a hall recognizable by a dome about 45 meters high and a capacity for more than 16.000 spectators, which explains why the whole neighborhood is used to large audience inflows. And even when the main program takes place outdoors, the presence of this kind of infrastructure nearby affects the sense of safety and organization, because access routes, traffic flows, and city services are already practiced for a mass-event scenario. For visitors with a one-day ticket, this is practical: you come into a zone that’s accustomed to big crowds, and after the program ends you can disperse more easily toward public transport or walking routes. In such an environment, ticket sales often gain additional momentum, because people know the location is proven and the festival isn’t an improvisation, but a project that relies on the city’s real capacities.

How to get there, how to move around, and how to get the most out of one day

For a one-day visit, the key is a fast and predictable arrival, because you want to enter the park as close to the start of the program as possible and avoid stress during the densest wave. Parque O'Higgins has a clearly city-defined position, and getting to the park is most often planned via main avenues and the public-transport network, with the Parque O'Higgins metro station on Line 2 often serving as the simplest arrival point for a large mass of people. The advantage of a one-day ticket is that you can plan the day as a story starting at 12:00, with breaks for food and drink in the festival zone and targeting key performances toward the evening, without needing to save energy for tomorrow. If you want to avoid the densest entry wave, a practical tactic is to arrive earlier, catch the first sets, and get organized before the crowd thickens around the headliners, because then tickets and passes become only the first step, and the real challenge is moving between stages. Secure your tickets for this event right now!
CHECK AVAILABLE TICKETS
BOOK ACCOMMODATION NEARBY

What to bring and what weather to expect in March in Santiago

March in Santiago is often still warm, but with temperatures gradually dropping toward the evening, so a festival day can range from pleasant afternoon sun to a noticeably cooler end of the program. Climate overviews for Santiago in March state that daytime maximum temperatures are most often in the range of the mid to high twenties Celsius, while at night they drop significantly lower, which points to layered clothing as the most practical choice. It’s also emphasized that precipitation in that month is relatively low, which is good news for an open-air festival, but it doesn’t mean you should neglect sun protection and hydration during a long stay outdoors. For a one-day ticket it’s especially important to stay light and mobile: a small bag, comfortable footwear, and a plan for moving between stages often matter more than any perfectionism in gear. When you know a long shift of music awaits you, ticket sales and buying tickets stop being a topic in themselves and become part of broader preparation, because a good ticket is worth the most if it’s accompanied by a smart day plan.

Santiago as a backdrop: a city that naturally merges with the festival rhythm

One of the special features of Lollapalooza in Santiago is that the city isn’t just a logistical background, but an active co-player, because Parque O'Higgins is close enough to the center that you can feel the urban pulse both before and after entering the festival. That opens the possibility to turn a one-day visit into an all-day itinerary: the festival in early afternoon, and before that a short walk through the city, coffee downtown, or a quick tour of neighborhoods that live in the rhythm of major events. In such a scenario, tickets become the key point around which you build your day, but the experience spills over into all of Santiago, from public transport to the nightlife scene after the sets end. If you’re coming specifically for the first day and want to make the most of the lineup, the smartest move is to secure tickets in advance and leave yourself room for spontaneous decisions on site, because the best festival moments often happen when you accidentally stumble upon a performance you didn’t plan. Buy tickets via the button below or check availability while there’s still a choice.

Sources:
- LollapaloozaCL, the festival website with dates, location, and the day-by-day program
- CNN Chile, overview of the published lineup and confirmation of the festival dates
- La Tercera Culto, program by day and the schedule of performers by time slots
- EL PAIS Chile, information on performers, dates, and ticket price tiers
- La Tercera, news about the festival’s return to Parque O'Higgins and the agreement for the coming years
- Santiago Patrimonio, data on the address, history, and character of Parque O'Higgins
- Santiago Turismo, description of Movistar Arena, its capacity, and the location context
- GRAMMY.com, historical context of Lollapalooza and the festival’s development through decades
- NME, a concise history of Lollapalooza and its expansion into a global festival network
- Pitchfork, information on Deftones and the band’s current phase (album and single)
- Reuters, list of 2025 Grammy winners and highlighted successes of performers from the lineup

Everything you need to know about tickets for festival Lollapalooza Chile

+ Where to find tickets for festival Lollapalooza Chile?

+ How to choose the best spot to enjoy the Lollapalooza Chile festival

+ When is the best time to buy tickets for the Lollapalooza Chile festival

+ Can tickets for festival Lollapalooza Chile be delivered electronically?

+ Are tickets for festival Lollapalooza Chile purchased through partners safe?

+ Are there tickets for festival Lollapalooza Chile in family sections?

+ What to do if tickets for festival Lollapalooza Chile are sold out?

+ Can I buy tickets for festival Lollapalooza Chile at the last minute?

+ What information do I need to buy tickets for the Lollapalooza Chile festival

+ How to find tickets for specific sections at the Lollapalooza Chile festival

CHECK AVAILABLE TICKETS
2 hours ago, Author: Culture & events desk

Find accommodation nearby

You may be interested

Lollapalooza Chile
3 day pass

Santiago
Friday 13.03. 2026 11:00
Parque O'Higgins, Santiago
Lollapalooza Chile

Santiago
Saturday 14.03. 2026 12:00
Parque O'Higgins, Santiago

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.

Our stories do not stop at who performed and how many people attended. We are interested in the processes that precede every appearance before the public: how the idea for a concert or festival is born, what it takes for a comedy to reach its audience, how much time is spent preparing an exhibition or a multimedia project. In our texts we try to convey the atmosphere of the space, the energy of the performers and the mood of the audience, as well as the context in which all this happens – why a certain performance is important, how it fits into the broader music or art scene, and what remains after the venue empties.

The editorial team for arts, music and events builds its credibility on persistence and long-term work. Behind us are decades of writing, editing, talking with artists and observing how scenes change, how some styles come to the forefront while others retreat into the background. This experience helps us distinguish fleeting hype from events that truly push boundaries and leave a mark. When we give something space, we strive to explain why we believe it deserves attention, and when we are critical, we explain our reasons, aware of the effort behind every project.

Our task is simple and demanding at the same time: to be reliable witnesses of cultural and entertainment life, to write honestly toward the audience and honestly toward performers. We do not deal in generic praise; we aim to precisely describe what we see and hear, knowing that every text may be someone’s first encounter with a certain band, festival, comedian or artist. The editorial team for arts, music and events therefore exists as a place where all these encounters are recorded, interpreted and passed on – humanly, clearly and with respect for the very reason it exists at all: the live, real event in front of a real audience.

COPYRIGHT NOTICE
This article is not affiliated with, sponsored by, or approved by any sports, cultural, entertainment, music, or other organization, association, federation, or institution mentioned in the content.
Names of events, organizations, competitions, festivals, concerts, and similar entities are used solely for accurate public information purposes, in accordance with Articles 3 and 5 of the Media Act of the Republic of Croatia, and Article 5 of Directive 2001/29/EC of the European Parliament and of the Council.
The content is informational in nature and does not imply any official affiliation with the mentioned organizations or events.
NOTE FOR OUR READERS
Karlobag.eu provides news, analyses and information on global events and topics of interest to readers worldwide. All published information is for informational purposes only.
We emphasize that we are not experts in scientific, medical, financial or legal fields. Therefore, before making any decisions based on the information from our portal, we recommend that you consult with qualified experts.
Karlobag.eu may contain links to external third-party sites, including affiliate links and sponsored content. If you purchase a product or service through these links, we may earn a commission. We have no control over the content or policies of these sites and assume no responsibility for their accuracy, availability or any transactions conducted through them.
If we publish information about events or ticket sales, please note that we do not sell tickets either directly or via intermediaries. Our portal solely informs readers about events and purchasing opportunities through external sales platforms. We connect readers with partners offering ticket sales services, but do not guarantee their availability, prices or purchase conditions. All ticket information is obtained from third parties and may be subject to change without prior notice. We recommend that you thoroughly check the sales conditions with the selected partner before any purchase, as the Karlobag.eu portal does not assume responsibility for transactions or ticket sale conditions.
All information on our portal is subject to change without prior notice. By using this portal, you agree to read the content at your own risk.