Tate McRae, MUNA, Wunderhorse Close Out Lollapalooza 2026 In Chicago

Tate McRae closes out Lollapalooza with a headlining performance on day four. Sunday, August 2, 2026 at Grant Park in Chicago, IL

Photo by Barry Brecheisen

“Lollapalooza!” emphasized pop star Tate McRae early in a festival closing performance Sunday night on stage in Chicago. “What’s up?” she asked rhetorically of the crowd to rapturous applause as Lolla 2026 neared its end.

While rain started Friday night and continued Saturday, forcing a late start and amended schedule, Sunday went off without a hitch in Chicago’s Grant Park, with the festival bookended by dry weather despite an at one point even more potentially menacing forecast.

How the festival grounds were as dry Sunday as they were was mildly shocking, with Lollapalooza deserving of credit for not only managing to safely stage the festival but for pushing updated info out in a clear and timely manner, rarely a guarantee within the general festival realm.

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The guitar proved to be a highlight Sunday in Chicago with acts like Wunderhorse and Turnstile turning in some of the weekend’s finest moments, sets that, in some cases, came to symbolize months of work honing and fine tuning the on stage presentation.

“We’ve been planning this for six months,” said Surfing For Daisy drummer Steven Filippone backstage following the group’s set Sunday. “You paint a picture in your head and then it actually happens? You’re just like what the hell? It’s hard to put into words. It was awesome.”

Surfing for Daisy is a New Jersey-based alternative folk group who tore through a brisk 40 minute performance on Lollapalooza’s BMI stage early in the afternoon on Sunday.

“The set was electric,” said singer and guitarist Nick Francis. “I don’t think we were expecting that many people to be there. Everybody’s got their little jitters. But you look up halfway through the set to see a sea of people and my energy just went crazy after that. It was incredible.”

Drawing from recent singles like “1952,” Surfing for Daisy made the most of their Lollapalooza debut as they continue work on their sophomore full length album Echo the Madness, a cinematic, somewhat darker affair that will follow up their 2025 self-titled debut this September.

“It’s going to be madness,” declared bassist Cameron Seidel. “I think we’re leaning more, with the second album, into like a darker, folk/psychedelic type vibe. It’s definitely going to be darker than the first one,” explained keyboard player and vocalist Kathryn McCarty. “I feel like this one is more experimental. Dark folk. Emo folk. It’s gonna be cool. We’re very excited about this.”

And unlike most artists, who have nary a free second to catch other performances before heading to the next show, Surfing for Daisy got to stick around for a sec Sunday.

“We came straight in from Wisconsin. But we are going to see Wunderhorse,” added Francis. “Because Wunderhorse is my favorite band. Huge fan.”

Wunderhorse was a raucous highlight on Sunday at Lollapalooza, ultimately wrapping up about fifteen minutes shy of their scheduled 60 minute set.

“Rain” would’ve been an appropriate addition to the Saturday performance slate as frontman Jacob Slater ripped into the standout from the group’s 2024 sophomore studio effort Midas on Sunday. “Chicago, thank you!” said Slater, turning right to faceoff against guitarist Harry Fowler, with the group soon huddling around drummer Jamie Staples during a scorching late interlude.

Drenched in distortion, “July” took shape as a grungy dirge, giving way to the catchy, melodic early guitar hook of “Teal.”

Elsewhere on the BMI stage this weekend, The Braymores offered up a rewarding set following one of the week’s earliest aftershows Wednesday night.

“We had an awesome time performing with Evening Elephants, they’re awesome guys. And Beat Kitchen is a venue that we’ve played more than any other,” said guitarist Keegan Melaniphy following the set. “So, it felt amazing to be able to have an official Lolla aftershow there.”

Lollapalooza does a great job of annually showcasing the excitingly diverse musical sounds the city of Chicago has to offer, with performances throughout the weekend by acts like 90s alt stalwarts Smashing Pumpkins, DJs Whethan and John Summit, rapper Freddie Gibbs, the Chicago Youth Symphony and more.

Indie rockers The Braymores represented the city of Chicago while supporting their second studio album When the Lights Went Out.

“No words can describe this feeling, it was truly the best day of our lives!” said drummer Russ Oren. “At first we were nervous that nobody would come. But then like 1,000 people spawned out of nowhere and we had the best time!” he said. “Keegan and I grew up coming to Lolla as fans. So, to be able to finally play our home city festival felt insanely rewarding,” added singer and guitarist Matt Tilles. “Lolla is where I fell in love with music and live performance and our set felt like it marked a major achievement for the band and all that we worked so hard for over these past four years.”

It’s no secret that fans continue to single out their desire for an immersive experience as a major draw for destination festivals in 2026. Brands have noticed and corporate activations have become a bigger and bigger part of a choose your own adventure Lollapalooza experience.

In an effort to simply meet fans where they are, Hawaiian brewer Kona brought not just their flagship Kona Big Wave golden ale but a half pipe, celebrating the marriage of music and skate culture near Grant Park’s picturesque Buckingham Fountain throughout Lollapalooza weekend.

“Skateboarding and music have always been intertwined,” said X Games medalist Braden Hoban. “Lollapalooza is one of the few places where you can enjoy both,” he said. “I love being part of experiences that create genuine connections,” added Olympian and back-to-back X Games gold medalist Mariah Duran. “It was incredible to play a part in Kona Big Wave bringing the first skate ramp to Lollapalooza and celebrating skateboarding’s passion, creativity and sense of community.”

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While Kona Big Wave offered skateboarding, beer and camaraderie, T-Mobile’s Club Magenta offered some fans a covered respite from first rain and then mud Friday night and Saturday.

Touting a bar, comfortable seating, charging stations and other exclusive opportunities and perks, Club Magenta provided a raised, direct sightline to the T-Mobile main stage on Grant Park’s south end, one which hosted headlining performances throughout the weekend by New Zealand singer songwriter Lorde, English pop star Charli XCX, British singer Olivia Dean and Canadian singer and dancer Tate McRae.

Last year, Club Magenta hosted a surprise performance by rapper Isaiah Rashad and this year surprised fans with a DJ set by artist, producer and actor Leon Thomas, following a 45 minute main stage set.

“Alright, before we play this song, we gotta say, ‘F–k Trump and f–k ICE!’” said MUNA vocalist Katie Gavin on stage Sunday at Lollapalooza, leading an impressive call and response with a massive Sunday audience as she set up “Big Stick” from the group’s recently released fourth studio album Dancing on the Wall.

While the band is known for their unique brand of incredibly catchy, indelibly-crafted electro pop, Dancing on the Wall, “Big Stick” in particular, finds the band addressing late-stage capitalism and tumultuous times in America via their songwriting this time around.

“Artists are literally just people. So, we’re also experiencing the world,” explained Gavin backstage prior to the group’s third Lollapalooza performance. “We live in L.A. And the period of time that we were writing the album, we saw the wildfires and the invasion of the city by ICE. So, there were a lot of things that were tapping us into how many people are suffering,” she said. “Our friend wrote a piece about the album that I really appreciated. Because he kind of talked about how it is a record about love – but it addresses society and suffering in society. Because, often, that kind of suffering can actually get in the way of people being able to connect with each other – because they’re in pain. We are always talking about love and connection. So, I think it just was a natural thing for us.”

Synths rang in “One That Got Away” with Josette Maskin on acoustic guitar and Naomi McPherson on keys for “So What.” Gavin, who hails from Chicago’s north suburbs, stood arms crossed as she took stock of the hometown crowd during a moving on stage moment Sunday at Lollapalooza.

“I’m sad that we missed Charli and Lorde. But excited to see Turnstile!” said McPherson Sunday. “This is our third time playing this festival. It’s just nice,” added Maskin. “Because, I think, in this business, you can feel very stifled. But it’s just beautiful to see how much we’ve grown as a band and how much we’ve grown as friends and as people. I remember playing this festival for the first time. And feeling so scared and so overwound by the idea that this was going to make or break our career. And now we get to play the main stage here and it feels really comfortable. And I’m just grateful to still be doing this with my best friends.”

Tate McRae wrapped up Lollapalooza 2026 with one of the weekend’s most extravagantly choreographed performances. While drenched in autotune at times, Sunday’s set wasn’t completely devoid of authentic moments.

“Hi, you guys! My name is Tate McRae and I’m so excited to be back in Chicago!” declared McRae on stage Sunday. “I love it here. It’s one of my favorite places. I’ve done Lolla twice before but this is my first time headlining – which is crazy!” said McRae, setting up “Tit For Tat” as pyro and sparks exploded overhead.

Fan phones in the air lit up the festival expanse as McRae offered up “Dear God” about halfway through, her backing dancers striking a pose as the song concluded. McRae sent out “cut my hair” to the girls while offering up a particularly impassioned introduction to “you broke me first” later.

“This really makes me feel nostalgic,” she began. “It was Lollapalooza and it was my second festival. Now there’s 100,000 of you,” marveled McRae. “I started this in my bedroom when I was a child. But if it weren’t for those embarrassing videos I put out in middle school, I wouldn’t be here with you. So, if you know it, sing it!”