Sziget Festival’s decision to book Chappell Roan as the final night’s headliner proved bold and brilliantly effective. Her set was described as “pure, relentless brilliance,” with the crowd packed all the way to the back, belting out lyrics from her breakthrough album The Rise and Fall of a Midwest Princess.

The performance was a visual feast. Roan wore a pastel-hued bodysuit featuring her own face, complete with a 3D ruffled tutu, dramatic collar, sheer gloves, and a whimsical puppet hat, an ensemble that perfectly blended drag, art, and ballet influences. As the show unfolded, she shed layers to reveal a fringed bra with an eye motif and velvet undergarments, maintaining theatricality throughout

Her set leaned heavily on her queer-inflected pop anthems. Performances of Good Luck, Babe!, The Giver, Pink Pony Club, and The Subway energized the arena, each feeling like a sprawling hit in its own right. By the time Pink Pony Club closed out the show, the audience “a glittery congregation of mostly girls and gays” was hoarse from singing along.

Her performance was far more than a concert—it was theatrical and emotionally charged. She connected deeply with her fans, sharing a monologue before The Giver, and interacting with them in genuine, even humorous ways.

Once concert goer exclaimed:

“Chappell Roan came and slapped the Hungarians in the face with the highest‑quality performance of Sziget this year… flawless, extravagant visuals, charismatic presence, and a voice that seemed able to steal the stars“

Chappell Roan’s headline set at Sziget wasn’t just a performance it was a defining moment. She proved why she’s emerging as one of pop’s most compelling new voices: a drag pop princess, a queer icon, and an unforgettable live performer.