Rodrigo has by now become known for her earnest attempts to bridge such generation gaps and for trying to convince her younger fans that it’s cool to circumvent the passivity of the algorithm with educational deep dives into alternative rock’s past. Daisy Chain effectively embodied that ethos, and it offered a rare opportunity for conversation on both sides of that exchange.

During Bikini Kill’s gloriously galvanizing set, the vocalist Kathleen Hanna addressed the crowd with her typical off-the-cuff, heart-on-sleeve candor. A younger generation of fans who embraced nonbinary gender identities prompted her to rethink the phrasing of the band’s slogan “girls to the front,” because, 57-year-old Hanna said, “you can’t tell who’s a girl just by looking at them, and we don’t want to reinforce that [expletive].” She added, “I just want to say to all the people younger than me, keep teaching people who are older than you, even if they are being hesitant and weird and [expletive] up about it.”

From the stage, Hanna also recalled days when she and her female bandmates were pelted with sexist slurs and constant objectification. The male gaze was less of a direct threat these days, she suggested. But a more modern reality loomed over the entire festival, for better or worse: The constant presence of the digital gaze, that omniscient pressure to always look camera-ready in the most Instagrammable festival ‘fit, to find the best backdrop and angle, and thus to look like one is having a FOMO-inducing amount of fun at all times.

Despite how rosy it might have looked online, Daisy Chain Fields wasn’t always perfect IRL: The weather was punishing, the lines stretched interminably and the journey out of the parking lot was like a modern-day remake of “The Odyssey.” But still, at a macro level, Rodrigo pulled it off, driven by what Nicks described from the stage as “this grace and crazy, crazy energy she has.”

The power of that energy was on display when Rodrigo performed “Expectations,” a vampy new-wave number ostensibly about setting higher standards for romantic partners — “I won’t settle for a guy with a fake job,” Rodrigo proclaims on the chorus. At Daisy Chain, she used a call-and-response breakdown to make the song expand into something even greater. She asked all the girls in the crowd to sing the bridge as loud as they could, and the unity of tens of thousands of voices made it sound like a mantra: “I’ve got big expectations,” they sang at the tops of their lungs. “I’ve got real big expectations.” Who knows what sort of seeds were planted in that moment, what sort of wild things they might bloom into?