“A Return To Self”: Inside Shambhala Music Festival’s Expansive 26th Edition

Words by Carlie Belbin and Shakiel Mahjouri.

And just like that, Shambhala has wrapped up its 26th edition at the beloved Salmo River Ranch.

This year wasn’t just a return to the farm, but a return to self. The magic of the festival lived in the moments in between the bass drops, the unfiltered expressions of identity, and the feeling that—no matter where you came from—you were exactly where you were meant to be.

Thursday welcomed us all back with open arms. Local legends SkiiTour kicked things off with an energy that felt like we never left. As the sun dipped behind the mountains, and the ranch pulsed with new life, the dance floor filled with sequins, kaleidoscopic colors, dust, and grins from ear to ear that said: we are so back.

For those keeping up on the Shambhala Instagram, there was a “secret” stage located down in Riverside featuring sets from the likes of Mt. Doyle, who made his Shambhala debut set, as well as Kodiak Kid. Later, Maddy O’ Neal threw down for attendees who committed to the journey.

Friday afternoon began with a sacred Opening Ceremony at the Grove, instilling gratitude, intention, and connection. Followed by lush daytime sets by Tor and JPOD setting a soulful tone and grounding us to the traditional lands of the Syilx, Sinixt and Ktunaxa Nations.

As day melted into night, the Fractal Forest came alive with the funk-forward mastery of Freddy J, Mood Swing & Chevy Bass, K+Lab and the Fractal mainstay Stickybuds. Later, Big Gigantic reminded us why live saxophone over electronic beats will always hit differently.

One thing is for sure: your choices are endless on the farm. DJ sets, adventures, and whimsical human connections are readily available and in abundance. While there is comfort in knowing every path you chose to embark on can bring delight, sometimes you are forced to make hard decisions—like whether to hit Big Gigantic at Fractal, or indulge in Troyboi at the AMP. It was one of the weekend’s tougher choices and a common frustration at festivals.

Conflicting schedules come with the territory. If only festival life had a New Game Plus (NG+) mode to experience everything simultaneously.

Chris Lake and Justin Martin delivered phenomenal mainstage moments of pure euphoria at the Pagoda during primetime on Saturday. And for those who stumbled back into the Fractal after-hours, a stand-out duo new to the stage, No Thanks, delivered a mind bending set that kept listeners on their toes and carried us into the early morning.

Entering the Pagoda stage at Shambhala Music Festival. Photo: BEEDEE

Every attendee contributes to Shambhala’s collective spirit. The totems alone personify this.

Annual favorites like the dancing Peter Griffin, “check engine,” cute mushrooms and jellyfish, “CatDog,” and “I miss my ____” reunited in the crowd. One thoughtful soul Frankensteined a dozen electric fans together on a stick, cooling off fellow ravers. Amidst feverish dancing, it was as if being fanned by the Shamba-Gods.

But perhaps the most ingenious totem of all was spotted not once, not twice, but on a handful of occasions. These engineering marvels built their totem atop a coat rack—that way no one ever had to hold it up as it stood all on its own, and everyone in the crew could hang bulky jackets and bags on it while on the dance floor. Brilliant. If you’ve ever been to Shambhala, you know that at night it’s too hot to dance with layers on at the stages. But once you leave the crowds, you need a coat to roam around comfortably—don’t forget you’re in Canada, eh.

Shambhala Music Festival downtown and food market area. Photo: BEEDEE

Saturday’s Fashion Show, or Rave Runway Extravaganza, hosted by Frieda Whales was a radiant display of radical self-expression—DIY, glitter, fringe, feathers, and a whole lot of heart. Speaking of heart, beloved Canadian DJ and producer The Gaff took to the stage at Fractal as the sun went down and brought his very own son to witness his dad in his domain.

Gracing the Living Room stage, Glass Beams cast a psychedelic spell that felt like floating in a dream. And Elderbrook brought intimate vocals and emotional resonance to the main stage, setting the tone for a magnetic set from Bob Moses, whose brooding house grooves held the crowd in a collective trance back at the Living Room.

The Village’s foundations were stress-tested by consecutive efforts from Delta Heavy, SLANDER and ALLEYCVT, the latter of whom welcomed “ONE FOR YOU” collaborators Levity onstage. SLANDER’s spin on Quad City DJ’s legendary hit “Space Jam” was groovy enough to have interstellar lifeforms chasing the bootleg.

The Village stage at Shambhala Music Festival. Photo: BEEDEE

The festival normally welcomes one hip-hop act each year with mixed success. Integrating rap music into an EDM festival like Shambhala is challenging sonically and culturally. But, Joey Valence & Brae understood the assignment. Their energy was infectious, and they wore their love for electronic music on their sleeves.

Shambhala is the definition of a marathon, not a sprint. It’s normal for music to begin at 1pm and carry over to 9amthe next day. Navigating the experience comfortably requires some strategic planning. Fortunately, Shambs is inhabited by countless knowledgeable and kind-hearted “wooks” looking out for the Farmily.

Perfect example: Three unsung heroes rolled into FATHER SON’s 5am festival debut set at the Pagoda with a small grill, a propane tank, and the restorative power of cheesy carbs. These godsends, pictured below, slung grilled cheese sandwiches for the troops. We’re talking buttered exteriors, mayonnaise-d interiors and a mixture of white and yellow cheeses.

After dancing their way through a sunset and still standing during sunrise, they might as well have been dipped in the Fountain of Youth.

Grilled cheeses being made during FATHER SON set Sunday morning at the Pagoda stage. Photo: Shakiel Mahjouri

Sunday’s annual Fractal Funk Jam hosted by Smalltown DJs was everything Shambhala stands for: collaboration, community, and absurd amounts of raw talent. Each year, the Funk Jam runs from 2-6pm and the docket of talent circulates as each person plays three tracks and they keep swapping in and out. The playfulness of the crowd below is unmatched, too. If you have yet to check it out, be sure to pop by next year.

That final night, The Sponges kept things moist as the crowd soaked up every drop of their performance, setting the tone for a memorable culmination. SOFI TUKKER made their long-awaited debut at Fractal and delivered full-spectrum energy both playful and primal, emphasized by eclectic remixes of the White Lotus season three theme song and Drowning Pool’s “Bodies.”

Later, Andy C turned the Village into a drum & bass battleground in the best way possible. Over at the Grove, Channel Tres served up his signature blend of hypnotic basslines, low-slung funk, and vocals that hit like velvet and smoke.

Channel Tres performing at The Grove stage. Photo: BEEDEE

ILLENIUM exceeded lofty expectations, winding up fans with emotional highs then free-falling into filthy drops. Wooli followed up for a nasty one-two punch. During the quick handover from one to the other, a pair of giddy ravers entered the Village from stage left, hoisting a giant, blow-up woolly mammoth overhead. Seeing the majestic mascot crowdsurf around during its namesake’s set emphasized the humor and youthful vibrance that Shambs evokes.

Tape B b2b Mersiv pushed boundaries with a cinematic, bass-heavy journey that felt like the final chapter of an epic video game. Every bold story needs comic relief. During Tape B and Mersiv’s surprise set, a colorful spirit made rounds through the crowd, asking if strangers would like “to take a picture” of him. Those who indulged were not greeted with a phone and selfie stick, but with a sticker of the inquirer. What a random and perfectly on-brand bit for a festival that encourages quirky, unabashed self-expression.

And in a Shambhala-perfect moment during RUMPUS’ set, agro-yogi John Early proposed to his then-girlfriend, drawing massive cheers from the crowd and sealing the night with a kiss.

Whether you came for the music, the magic, or the mischief, one thing was certain: you found yourself on the farm. If you want to experience the magic of Shambhala Music Festival for yourself, tickets for next year’s edition (July 24–27, 2026) go on sale in September.