Louis Tomlinson relied on his voice while Marcus King made his guitar sing on June 26, the fifth night of Summerfest 2026.
Louis Tomlinson
Louis Tomlinson headlined Summerfest’s BMO Pavilion on June 26 as part of his 28-city “How Did I Get Here?” tour, stretching across Europe and the United States.
Tomlinson‘s most recent album — his third solo endeavor — and the tour are a return to form, the dancey pop sound that launched him and his One Direction peers into superstardom. Throughout, Tomlinson finds sonic synergy in catchy pop hooks, synth-laced guitar and bass chord progressions and a laidback, beachy vibe that can make a listener feel like they’re bathing in the sunshine of Costa Rica’s coast, where the album was produced.
His show opened with a video of Tomlinson in a car, cranking the knob on a radio until it settled on a station that welcomed him and the audience to Summerfest in Milwaukee. From there, he and his band launched full speed into an upbeat four-song stretch of “Lemonade,” “On Fire,” “Written All Over Your Face,” and “Out of My System,” each song bright, synth-laced and somewhat psychedelic in its own way.
The intention was set; Tomlinson was taking the audience on a trip, a quest to figure out just how he got here.
He wore a tracksuit with a butterfly embroidered on the left side of his chest and a pair of black sunglasses that masked his eyes from the occasional strobing of lights and bright lasers. After the first song, the crowd was blasted with bright yellow confetti, setting the party tone early on in the evening.
The graphics and visuals of the show played a large role in telling Tomlinson’s story. All were colorful, trippy and visually captivating while Tomlinson’s physical performance was subdued and relaxed.
Tomlinson spent most of his first three songs center stage, rarely dancing, but instead gripping the mic while swaying back and forth or nodding his head, eyes masked by his sunglasses. During major guitar solos and drum moments, he didn’t turn from the audience to rock out with his band. Instead, he occasionally pointed at audience members and shot them quick smiles before turning to his standard position.
Tomlinson left it to his voice to tell the story of a life shaped by grief and evolution in the public eye.
No matter what he sang, the crowd was with Tomlinson, cheering him on, chanting the lyrics of songs back to him and grabbing their friends by the shoulders when he began playing their favorite tune.
After the punchy start to the show’s opening, Tomlinson transitioned into a series of slower-paced tracks, “Saturdays,” “Dark to Light,” and “Just Hold On,” pulling back some of the show’s early momentum for a reflective moment, a retrospective on his life and career.
Some of the loudest cheers and screams came mid-show during Tomlinson’s performance of “Night Changes,” a 2014 One Direction song.
He left his post more frequently in the back half of the show. “Sunflowers” is where he seemed to regain his vocal and physical energy, striding back and forth across the stage and engaging with fans.
Towards the end of the night, he dropped his cool guy mask, tilting his sunglasses down for just a moment to smile at the audience, eliciting screams.
There were moments throughout the show when Tomlinson was hard to hear over the sound of the band. He frequently fiddled with his earpiece and, at one point, gestured to the side of the stage to turn up his microphone volume.
But overall, he put on an engaging show, made better by a quick sprint downstage and into the audience where he sang his final song, “Palaces.”
– Tamia Fowlkes
Marcus King Band
South Carolina blues-rocker Marcus King had a packed T-Mobile crowd on its feet for his band’s headlining set June 26. He commanded the stage throughout, shedding his fringed jacket after the first few songs but keeping the flannel on, willing to sweat it out for us. As a vocalist he’s equal parts Warren Haynes and Chris Robinson, textbook ‘90s Southern rock.
“Anybody out there in a codependent relationship right now?” he asked, introducing “On & On;” a smattering of uneasy whoops and moans was probably the only appropriate response. King took his frustrations out on the guitar; he’s not flashy, favoring long groans and sharp stabs over fast shredding, leaning into each note.
This was a fully-equipped jam band as well, complete with auxiliary percussionist, shown off best in “Carolina Honey;” always very safe and contained in terms of improv however. Allman Brothers-lite, including a few twin-guitar duels between King and Drew Smithers. This formula, though. Tried and true and tried again. Marcus King Band have mastered it, but don’t do much to freshen it up.
– Cal Roach
The Revivalists
I was no fan of The Revivalists before. Maybe it was because I was inundated with “Wish I Knew You” on the radio through the summer of 2017, but I didn’t have the highest expectations for this performance. It also didn’t help I was in the minority: a Gen Zer in a sea of millennials.
But I can comfortably say I was wrong to underestimate them, and The Revivalists sound far better on the stage than in the studio. The 8-piece band brought heavy drums, harmonic vocals and some of the most impressive instrumentals I’ve ever heard on stage to the Uline Warehouse.
Their smash-hit song was hardly even the biggest showstopper of the night. Instead, the highlights were songs like “Good Old Days” and “Soulfight” that had Rob Ingraham and Michael Girardot jamming out on the saxophone and keys respectively.
“Fade Away” was another standout, with an outstanding electric guitar performance from Zack Feinberg and chillingly beautiful vocals from frontman David Shaw. A surprise cover of “High and Dry” by Radiohead also showed off his haunting voice and was a welcome treat during the set.
The Revivalists: I wasn’t aware of your game.
– Joey Schamber
The Aces
Let’s hear it for the girl bands! Louis Tomlinson’s opening act, The Aces, brought an energetic, disco-inspired groove to the BMO Pavilion on June 26.
With a thoughtful blend of head-banging guitar solos and lush harmonies, the all-girl band from Orem, Utah. dazzled an initially quiet crowd in Milwaukee.
On the chilly evening, they performed a 50-minute set with songs from their 2025 album “Gold Star Baby,” in addition to “Daydream” a 2020 song popularized on TikTok and “Jealous,” a track recently featured on Amazon Prime’s hit show “Off Campus.”
Lead vocalist Cristal Ramirez chatted with audience members between songs, wishing them a happy Pride, calling them to their feet to dance. She reflected on the group’s evolution from teaching each other to play instruments in their childhood basements to the stage.
Her crisp and seemingly effortless belts were made all the more impressive when she whipped out an electric guitar to rock out with fellow bandmates, including her sister, Alisa, the group’s drummer.
The band’s chemistry was palpable. Energy as radiant as the golden sunset soaking the stage with light. Plus, their willingness to woo potential new fans, endless.
– Tamia Fowlkes
Two Feet
It may have been a bit cool early evening June 26 on the Summerfest grounds, but otherwise it was a beautiful, sunny day – not the most suitable weather for the sounds of Two Feet.
The New-York-born Zachary Dess offered up simmering, textured alt-rockers at the Uline Warehouse stage that begged for atmospheric darkness. But under the unsparing sunlight, Dess and the band’s textures – especially Dess’ bluesy guitar struts and cool contrasting vocals – still cast a spell over the large crowd. (“BBY” in particular recalled the reserved confidence of INXS’ classic “Need You Tonight.”) Next time he’s at Summerfest, Two Feet could get a more appropriate late night slot, but he’s bound to impress all the same.
– Piet Levy
Goldfinger
Thirty years ago, Goldfinger opened for the Sex Pistols here in Milwaukee which was part of a relentless touring era where they famously set a Guinness World Record by playing 385 shows in a single year. That high-octane work ethic was on full display as the band stormed the Miller Lite Oasis stage for Summerfest’s 10:30 p.m. slot. Opening with “Spokesman,” the band’s furious guitar riffs, hot horns, and relentless drumbeats sliced right through the soupy, cool Milwaukee air.
The packed pit in front was in for a wild ride. Frontman John Feldmann and his ensemble moved frantically across the stage. At one point, Feldmann leaped directly into the audience to crowd-surf during “Open Your Eyes.” Further frustrating security, he followed it up by inviting a group of kids from the crowd onto the stage to sing a cover of NOFX’s “Linoleum.”
Sensing a vibrant second wind for third-wave ska, the SoCal band’s latest album, “Nine Lives,” leans heavily into punk royalty, featuring collaborations with members of Blink-182, NOFX, and Pennywise. The best of that new material live was “Freaking Out a Bit.”
Ultimately, the night was ruled by definitive hits that turned the Oasis into massive, unified sing-alongs. “Superman” remains a cultural phenomenon and not because of traditional radio charts, but because an entire generation of kids wore out their thumbs listening to it on the Tony Hawk’s Pro Skater soundtrack. Goldfinger clearly embraces that legacy, using that pure nostalgia to keep the crowd skanking from start to finish. High-octane performances of “Here in Your Bedroom” and the sun-drenched reggae vibes of “Tijuana Sunrise” kept the momentum soaring.
By the time they reached their closer of a 17-song set with “99 Red Balloons,” sung partially in its original German. Goldfinger proved that while we all might be getting older, the spirit of ska-punk keeps everyone feeling younger in their minds.
– Tedd Lookatch
Sudan Archives
Sudan Archives brought her unique blend of electro-pop, folk, R&B, and electronic (there’s more) music to the Aurora Pavilion on a chilly but blindingly bright evening.
Welcomed by a nearly full crowd, Sudan jumped straight into a performance that felt as much like art as it did a concert. Honestly, there wasn’t much she couldn’t do. She danced like she was classically trained, bounced between a myriad of samplers and electronic drums, and, best of all, absolutely shredded on the violin. Songs like “Dead” and “Noire” showcased her insane self-taught fiddling. During “Yea Yea Yea,” I was close enough for her to swipe her bow across my shoulder ever so sensually. That sounded weird, but I promise it was cool.
The brilliance of Sudan Archives is that she does it all herself. Singing beautifully while playing multiple instruments is hard enough, but she made it look effortless, all while theatrically bouncing across the stage to pulsing electronic beats. I won’t even get into her crowd participation. It was nuts.
She performed for over an hour, capped it off with an encore, and never let the energy dip. I’m still trying to figure out how she made her violin bow sound like a sword unsheathing every time she pulled it from its quiver.
– Damon Joy
Local Beat: Greg Koch & the Koch Marshall Trio
Summerfest books some 600 acts each year. The number of guitarists? Who knows.But of the hundreds of guitarists playing the Milwaukee music festival this year, few, if any of them, have the skill set of hometown hero Greg Koch.Performing with the Koch Marshall Trio for a large crowd at the T-Mobile Stage early evening June 26, Koch brought jaw-dropping dexterity – and perhaps more importantly unbridled joy – to every note he played, bringing distinct personality to songs like a funky fresh take of the Temptations’ “Standing on Shaky Ground.”It was a great reminder that for all the musicians Summerfest draws from around the world every year, some of the greatest talents live just down the road.- Piet Levy
This article originally appeared on Milwaukee Journal Sentinel: Louis Tomlinson and the best and worst of Summerfest 2026 June 26
Reporting by Journal Sentinel staff, Special to the Journal Sentinel / Milwaukee Journal Sentinel
USA TODAY Network via Reuters Connect
By Journal Sentinel staff, Special to the Journal Sentinel | USA TODAY Network
