JENNIE hit Mad Cool 2026 in Madrid on Thursday, July 9, and used Tame Impala’s “Dracula” as the centerpiece of a full-on, theatrical solo set. The BLACKPINK member delivered a viral, collaborative remix of the track, performed atop a set of stairs in front of a giant disco ball visual, with backing dancers surrounding her before she moved to the front of the stage.

The stakes were simple and immediate: she followed that “Dracula” moment with unreleased material and a complete 17-track run for the main stage crowd, moving seamlessly between established hits, 2025’s debut solo album Ruby, and brand-new songs. Before the set’s remix payoff, she directly engaged the Madrid audience, telling them, “I know you know this song,” and later shared, “It feels so, so good to be here with you guys,” adding, “I'm having so much fun.” Then the new-music funnel started to turn.

If you are an executive, producer, or investor trying to read what is actually working in modern music attention, the structure matters. JENNIE’s setlist started with “Filter” and “Damn Right” (solo version), then moved through tracks like “Mantra,” “Start A War,” and “Handlebars” (solo version). From there, she brought in a wider pop-culture lane with “One Of The Girls” (The Weeknd cover) and “Love Hangover” (solo version), before dropping “Dracula” as the big pivot. That sequence is basically a blueprint for live momentum: establish familiarity early, then use one high-recognition cover to anchor the viral moment, then cash in with deeper cuts and previews.

The “Dracula” remix was not just a song choice, it was a staging choice. The source describes an epic, theatrical outing where JENNIE appeared on stairs in front of a giant disco ball visual. She was surrounded by dancers, then eventually made her way to the front of the stage. In live business terms, visuals are not decoration. They are amplification. The remix’s collaboration angle and the disco ball spectacle create something platform-friendly, meaning more likely to travel beyond the venue through video, clips, and audience re-uploads.

And she kept the audience in “new music” mode. The set included the unreleased cut “Heaven,” which she previously aired at Open’er in Poland last week. Later, before performing another unreleased song, “Little Less,” she told the audience, “So guys, I have this one more new song that I wanna sing for you today. I'm gonna have my band join me on stage.” She also spoke to Madrid fans in Spanish throughout the set, which helps explain the connection layer: it is not only what she sang, it is how she met the crowd.

For completeness, the full setlist JENNIE played at Mad Cool 2026 was: 1. ‘Filter' 2. ‘Damn Right' (solo version) 3. ‘Mantra' 4. ‘Start A War' 5. ‘Handlebars' (solo version) 6. ‘One Of The Girls' (The Weeknd cover) 7. ‘Love Hangover' (solo version) 8. ‘Dracula' (Tame Impala cover) 9. ‘Seoul City' 10. ‘F.T.S.' 11. ‘Lock It Down' 12. ‘Heaven' 13. ‘ExtraL' (solo version) 14. ‘With The IE (Way Up)' 15. ‘Starlight' 16. ‘Little Less' 17. ‘Like Jennie'

The catalog decisions also tell on the strategy. Elsewhere in the set, JENNIE ran through highlights from Ruby, including “Start A War,” “Like Jennie,” and “Love Hangover.” Her collab with The Weeknd, “One Of The Girls,” made an appearance too. She also performed tracks like “ExtraL” (solo version) and “With The IE (Way Up),” showing range rather than repeating the loudest radio hits. This matters for decision-makers because it suggests a live show can function like a product line review, not just a greatest-hits jukebox.

Outside the JENNIE spotlight, Mad Cool 2026 also hosted other major performances. The source notes that yesterday included Lorde, CMAT, and Chloe Slater. Today, Friday July 10, Mad Cool 26 continues with slots from Kings Of Leon, Halsey, Pixies, Twenty One Pilots, and more. It also points out that Foo Fighters delivered a huge bill-topping performance on Wednesday, July 8, which NME called an “epic set” that “honour[ed] their legacy with a rummage through the back catalogue.” In other words, the festival context reinforces a broader market reality: audiences reward both spectacle and narrative, and star operators are increasingly engineering both at once.

There is also a cultural tailwind baked into this specific “Dracula” remix. The source says JENNIE’s “Dracula” remix soundtracked a lip-sync performance video from Bryan Cranston. It also notes that the original version appears on Tame Impala’s latest album, Deadbeat. That cross-audience travel is exactly what executives should watch: a cover can become a distribution event, linking scenes and platforms in ways that traditional media cycles often cannot.

The strategic implication for founders, labels, and investors in creator economics: live programming is not just marketing anymore. It is product staging, audience segmentation, and new-release testing, all rolled into a single afternoon. JENNIE’s Mad Cool 2026 set shows how a tightly sequenced performance can turn one remix moment into a full funnel, while teasing unreleased songs (“Heaven” and “Little Less”) without losing the crowd that came for “Ruby” era hits. In a world where attention is the scarce resource, that is the play to study.